Semantic Coherence: LEE Filters – Signal Evidence & AI Readability

[H2] Colour effect filters
We know colour better than any of our competitors. Our high-quality lighting filters are available in a vast range of colours to ensure you can create the perfect shot. Made in the UK, our filters are consistently accurate, long-lasting, and dependable.
Browse the filter colours in our range by clicking on our digital swatches. Explore colour descriptions and read their specifications. Build your own colour collection and download a personalised PDF with your selected colours to keep handy.
Learn more about our filter colours 170 Deep Lavender
[H3] 170 Deep Lavender
Great for set lighting, discos and theatres.
170Add 136 Pale Lavender
[H3] 136 Pale Lavender
Great for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots.
136Add 169 Lilac Tint
[H3] 169 Lilac Tint
A pale lavender. Good for almost white light with a cool tint.
169Add 702 Special Pale Lavender
[H3] 702 Special Pale Lavender
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.
702Add 137 Special Lavender
[H3] 137 Special Lavender
Good for moonlight and musical / romantic scenes. Enhances skin tones.
137Add 194 Surprise Pink
[H3] 194 Surprise Pink
Good for musicals.
194Add 058 Lavender
[H3] 058 Lavender
An excellent backlight that creates a new dimension.
058Add 180 Dark Lavender
[H3] 180 Dark Lavender
A pleasing effect for theatrical lighting and backlighting.
180Add 343 Special Medium Lavender
[H3] 343 Special Medium Lavender
Good for theatre and T.V. effect lighting and backlighting.
343Add 700 Perfect Lavender
[H3] 700 Perfect Lavender
In-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.
700Add 181 Congo Blue
[H3] 181 Congo Blue
Looks like black light when used with a fluorescent source. Great effect colour. Very saturated.
181Add 707 Ultimate Violet
[H3] 707 Ultimate Violet
Used in musical performances for general colour washes and set lighting.
707Add 706 King Fals Lavender
[H3] 706 King Fals Lavender
A cold lavender.
706Add 071 Tokyo Blue
[H3] 071 Tokyo Blue
A deep blue, used for midnight scenes and cyclorama lighting.
071Add 713 J.Winter Blue
[H3] 713 J.Winter Blue
A very dark blue with a high UV content. Good when used in high concentrations for a moody and powerful stage colour wash.
713Add 710 Spir Special Blue
[H3] 710 Spir Special Blue
A cool industrial blue.
710Add 198 Palace Blue
[H3] 198 Palace Blue
Good for dark moonlight or a romantic evening.
198Add 716 Mikkel Blue
[H3] 716 Mikkel Blue
A romantic blue to produce a night effect.
716Add 195 Zenith Blue
[H3] 195 Zenith Blue
Creates a good moonlight effect on a dark set. Also good for cycloramas.
195Add 715 Cabana Blue
[H3] 715 Cabana Blue
A deep blue that still has enough transmission to work encouragingly well on television.
715Add 723 Virgin Blue
[H3] 723 Virgin Blue
This is a pure blue, not too green and not too lavender, yet still feels warm for a blue with an early morning feel.
723Add 721 Berry Blue
[H3] 721 Berry Blue
Used in musical performances for rear colour wash or set lighting.
721Add 120 Deep Blue
[H3] 120 Deep Blue
A pleasing effect for theatrical lighting.
120Add 363 Special Medium Blue
[H3] 363 Special Medium Blue
Great for cool moonlight and mood effects.
363Add 085 Deeper Blue
[H3] 085 Deeper Blue
A deep warm blue. Good for back and side lighting.
085Add 119 Dark Blue
[H3] 119 Dark Blue
Good for mood effects created by backlighting and side lighting. Creates great contrast.
119Add 115 Peacock Blue
[H3] 115 Peacock Blue
A pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc).
115Add 327 Forest Green
[H3] 327 Forest Green
A deep green for sinister forest scenes, cycloramas and backlighting.
327Add 124 Dark Green
[H3] 124 Dark Green
Good for cycloramas and backlighting.
124Add 735 Velvet Green
[H3] 735 Velvet Green
A beautiful background colour. Victorian melodrama. A night time green.
735Add 323 Jade
[H3] 323 Jade
Used for underwater scenes, cycloramas and backlighting.
323Add 322 Soft Green
[H3] 322 Soft Green
A cool green used for gobo cover, pantomimes and cycloramas.
322Add 131 Marine Blue
[H3] 131 Marine Blue
Good for romantic moonlight. Often used in ballet and underwater scenes.
131Add 219 LEE Fluorescent Green
[H3] 219 LEE Fluorescent Green
General tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.
219Add 241 LEE Fluorescent 5700 Kelvin
[H3] 241 LEE Fluorescent 5700 Kelvin
Converts tungsten to fluorescent light of 5700K (cool white/daylight).
241Add 728 Steel Green
[H3] 728 Steel Green
Approaching storms. Overcast days. Cold steely light. Malevolent moonlight.
728Add 504 Waterfront Green
[H3] 504 Waterfront Green
Designed for period key light and modern urban horizons.
504Add 730 Liberty Green
[H3] 730 Liberty Green
A good green for creating mystery and suspense.
730Add 242 LEE Fluorescent 4300 Kelvin
[H3] 242 LEE Fluorescent 4300 Kelvin
Converts tungsten to fluorescent light of 4300K (white).
242Add 768 Egg Yolk Yellow
[H3] 768 Egg Yolk Yellow
A bold strong chemical yellow, less orange/red than 179 Chrome orange.
768Add 179 Chrome Orange
[H3] 179 Chrome Orange
A combination of 1/2 CTO and double strength 104, perfect for sunlight.
179Add 020 Medium Amber
[H3] 020 Medium Amber
Good for afternoon sunlight and candlelight. Also great for side lighting.
020Add 770 Burnt Yellow
[H3] 770 Burnt Yellow
A colour that feels warm and dense on camera, a balance between 179 and 105.
770Add 105 Orange
[H3] 105 Orange
Good for light entertainment and functions. Creates a good fire effect when used with 106 or 104.
105Add 777 Rust
[H3] 777 Rust
A vivid rust colour effect.
777Add 652 Urban Sodium
[H3] 652 Urban Sodium
Used on tungsten to create the orange glow associated with Sodium light.
652Add 287 Double C.T. Orange
[H3] 287 Double C.T. Orange
Converts daylight (6500K) to tungsten (2147K).
287Add 286 One and a Half C.T. Orange
[H3] 286 One and a Half C.T. Orange
Converts daylight (6500K) to tungsten (2507K).
286Add 204 Full C.T. Orange
[H3] 204 Full C.T. Orange
Converts daylight (6500K) to tungsten light (3200K).
204Add 441 Full C.T. Straw
[H3] 441 Full C.T. Straw
Converts 6500K to 3200K – daylight to tungsten light with a yellow bias.
441Add 744 Dirty White
[H3] 744 Dirty White
Correct a daylight source to an off white tungsten source. Used with a tungsten source provides a “dingy” effect like a smoky bar.
744Add 285 Three Quarter C.T. Orange
[H3] 285 Three Quarter C.T. Orange
Converts daylight (6500K) to tungsten light (3600K).
285Add
[H2] Made for the big screen
Our lighting filters have helped to bring some of your favourite films and TV shows to life. Our products are a favourite of professional cinematographers and photographers.
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[H2] The LEE camera range
[H3] LEE Elements
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[H3] LEE100
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[H2] Inspiration starts here
Take a tour of our gallery of images to discover how the world’s leading creatives are using filters designed to create the perfect image every time.
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