Naturally enhances skin tones.
Perfect warm front light for any skin tone.
Warmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues.
A warm amber light. Good for effects such as candlelight and fire.
A strong red/amber. Great for fire effects.
A good warm stage wash, TV studio wash or sunset effect.
A vibrant red, good for cyclorama lighting.
Good for cyclorama lighting, side lighting and footlights. Also good for colour mixing.
A very strong pink, good for backlighting.
Good for emulating evening. Great backlight.
Good for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight.
A subtle cool wash.
A cool wash good for night scenes.
Cool front light wash, good for creating an overcast look for cold weather.
Good for morning skin tones and night skies. Great for cyclorama lights.
A deep blue, used for midnight scenes and cyclorama lighting.
A deep warm blue. Good for back and side lighting.
Good mood creator. Used with gobos, creates a great foliage effect.
Highlighting for forest effects.
A sunlight wash - use with gobos, disco and dark skin tones.
A warm yellow colour. Great for candlelight or warm bright sunlight effects.
Pale sunlight through a window and a good warm winter effect.
Good for sunlight effect, accents and side light. Be careful of skin tones under the reddish tint of this colour.
Good for light entertainment and functions. Creates a good fire effect when used with 106 or 104.
Strong red effect. Good with cyclorama lighting.
Warm tint wash. Dark flesh tones and softer skin tones.
Pleasing effects for theatrical lighting.
Good for cool washes. Adds a pale green tint. Great for emulating icy weather on stage.
A strong night effect.
Good for mood effects created by backlighting and side lighting. Creates great contrast.
A pleasing effect for theatrical lighting.
Good for dense foliage, tropical jungle or woodland effect.
Good for cycloramas and backlighting.
Good for backlighting. Dark magenta / purple adds drama and mood.
Deep moonlight. Great for colour mixing.
Great for emulating a sunset. Also good for side lighting and cyclorama lighting.
A great fire effect.
Good for moonlight and musical / romantic scenes. Enhances skin tones.
Good for set lighting and cyclorama lighting.
A clean blue with hints of green. Good for moonlight and sidelight.
Good for sunrise, sunset and lamplight effects.
Great for fire effects and musicals.
Used with interior lighting to enhance skin tones.
Warms light and reduces the intensity.
Great for dance sequences (useful for softening white costumes without affecting skin tones).
A great fire effect.
A warm effect. Sunlight.
A warm white / warm wash. Good lamplight effect.
Good for cyclorama lighting.
Great for set lighting. Creates good moonlight shadows.
Used for backlighting and general areas. Great for sunrise effect and warming skin tones.
Looks like black light when used with a fluorescent source. Great effect colour. Very saturated.
Good for theatre and television effect lighting as well as cycloramas.
Good for musicals.
Creates a good moonlight effect on a dark set. Also good for cycloramas.
A deep lavender blue that strongly enhances skin tones.
Converts tungsten (3200K) to daylight (26000K) .
Converts tungsten (3200K) to photographic daylight (5700K).
Converts tungsten (3200K) to daylight (4300K).
Converts tungsten (3200K) to daylight (3600K).
Converts daylight (6500K) to tungsten light (3200K).
Converts daylight (6500K) to tungsten light (3800K).
Converts daylight (6500K) to tungsten light (4600K).
.6 Neutral density. Reduces the intensity of a light source.
Converts tungsten (3200K) to daylight (3400K).
General tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.
Converts tungsten to fluorescent light of 4300K (white).
Extra light frost effect.
Converts tungsten to daylight.
Used for underwater scenes, cycloramas and backlighting.
A deep green for sinister forest scenes, cycloramas and backlighting.
Great for dramatic stage lighting.
Converts 6500K to 3200K - daylight to tungsten light with a yellow bias.
Converts 6500K to 4300K - daylight to tungsten light with a yellow bias.
A lighter correction in the NCB series.
The lightest correction in the NCB series.
An intense and warm deep brown. Designed to recreate the pigment browns used by Francis Bacon in some of his paintings.
A pale acidic spring yellow. For a sharp white wash.
Double 513, when only a double will do. Has a more acidic bite.
Bright, brilliant blue-grey light at 100%. It does not warm up as it dims and is not affected by amber drift. Useful as backlight or for special effects where a whiter light is called for.
Silver-grey light at full power, dims through lavender grey then warm brown grey. Works well with 550 ALD Gold. Good for sense of intense darkness on 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 for a cold, white sidelight that has some warmth in it.
Pleasant white light at full power, dims down to a warm colour and at low intensities has more yellow than red. Good for sunlight effect as if through stormy clouds reflecting off ocean.
Used on tungsten to create the orange glow associated with Sodium light.
The colour of the Lavender fields of the south of France. A redder version of 180 for use on cameras balanced to tungsten sources.
A cold lavender when used with a full tungsten source, but warms as the source is dimmed. Good as a fill for slow sunset fades.
A colour that would be great for front / key lighting and that works well with 152 Pale Gold.
For use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.
To give a cold/grey HMI effect from a tungsten source. Will also help blend the light when using both tungsten and HMI sources.
To allow low intensity tungsten to hold a cold/blue feel.
Approaching storms. Overcast days. Cold steely light. Malevolent moonlight.
Dirtier than 730 Liberty green, more orange, sympathetic with skin tones.
A dirty green, reduces warmth. Good for cross lighting.
Correct a daylight source to an off white tungsten source. Used with a tungsten source provides a dingy effect like a smoky bar.
Primarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.
Adds warmth, sunlight.
Adds warmth, bright sunlight.
Creates warm and soft effects.
As R119, but with a higher transmission.
Frost diffusion effect. Useful for House Lights and LEDs.