Hubbry Logo
Color gelColor gelMain
Open search
Color gel
Community hub
Color gel
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Color gel
Color gel
Color gel
View on Wikipedia
from Wikipedia
Many color gels organized, some in gel heads

A color gel or color filter (Commonwealth spelling: colour gel or colour filter), also known as lighting gel or simply gel, is a transparent colored material that is used in theater, event production, photography, videography and cinematography to color light and for color correction.[1] Modern gels are thin sheets of polycarbonate, polyester or other heat-resistant plastics,[2] placed in front of a lighting fixture in the path of the beam.

Gels have a limited life, especially in saturated colors (lower light transmission) and shorter wavelength (blues). The color will fade or even melt, depending upon the energy absorption of the color, and the sheet will have to be replaced.

In permanent installations and some theatrical uses, colored glass filters or dichroic filters are used. The main drawbacks are additional expense and a more limited selection.

History

[edit]

In Shakespearean-era theater, red wine was used in a glass container as a light filter. In later days, colored water or silk was used to filter light in the theater. Later, a gelatin base became the material of choice. Gelatin gel was available at least until 1979. The name gel has continued to be used to the present day. Gelatin-based color media had no melting point, and the color was cast in the media as opposed to being coated on the surface. It would, however, char at high temperatures and become brittle once heated, so that it could not be handled once used in the lighting instrument.

By 1945, more heat-tolerant and self-extinguishing acetate-based through-dyed materials were being manufactured (marketed as Chromoid then Cinemoid by Strand Electric). In the U.S., Roscolene (acetate) was developed to deal with higher output light sources. Though cheaper, the acetate filters eventually fell out of favor with professional organizations since they could not withstand the higher temperatures produced by the tungsten halogen lamps that came into widespread use in the late 1960s.

The acetate-based material was replaced by polycarbonates like Roscolar (mylar polycarbonate) and polyester-based filters. These materials have superior heat tolerance. Polyester having the highest melting point of 480 °F (249 °C).

Often a surface coating was applied on a transparent film. The first dyed polyester gels were introduced by Berkey Colortran in 1969 as Gelatran, the original deep-dyed polyester.[3] The Gelatran process is still used today to produce GAMColor (100% of the line) and Roscolux (about 30% of the line).[4] Other color manufacturers, such as Lee Filters and Apollo Design Technology, use a surface applied dye. (Roscolux is 70% polycarbonate and 30% deep-dyed polyester.)

Almost every color manufacturer today uses either polycarbonate or polyester to manufacture their gels. Even today's gels can burn out (to lighten in color starting in the center) easily, rendering them useless. As instrument design improves, it has become a selling point on many lights to have as little heat radiating from the front of the fixture as possible to prevent burn-through, and keep stage equipment and actors cooler.

A motorized color gel

In the 1930s, Strand Electric of London provided the first numbering system for their swatches and with their agents in New York and Sydney, the numbering system went round the world. Remnants of this original filter color system exist in the color swatches of today (such as Deep Amber = No. 3; Primary Red = No. 6; Middle Rose = No. 10; Peacock Blue = No. 15; Primary Blue = No. 20; Primary Green = No. 39).

In the theater, gels are typically available in single 20 in × 24 in (500 mm × 600 mm) sheets, which are then cut down to the appropriate size before use. The size originates from the gelatin days: it is the same as a standard baker's sheet, which was used to cast the sheets. In the film industry, gels are usually cut straight from rolls 24 or 48 in (600 or 1,200 mm) wide and 50 ft (15 m) long, as the size required may vary from a single practical halogen spotlight in a ceiling to a whole window.

Colors

[edit]

Similar colors may vary between different companies' formulations. For example, many have a color named "bastard amber", but the transmitted color spectrum may be different. For this reason it is often misleading to refer to gel colors by name. Even a familiar color name, like Steel Blue, transmits widely differing colored light in each manufacturer's line.

By necessity, color gels are selected by specifying the manufacturer, line, color number, and name: Rosco Cinegel #3202 Full Blue CTB.

Apollo Design Technology uses a four digit number based on the visible spectrum to designate and locate specific color transmissions.

The GAMColor line from Rosco employs a three digit numbering system, organized by the wavelength of the principle color in the family, i.e.: Blues in the 800's with primary blue at 850 (though the manufacturer's numbers do not relate directly to any wavelength, transmission, or frequency). The same applies to Greens in the 600's, Reds in the 200's, etc.

Rosco's Roscolux line is currently the oldest major line of color media, . They started using only a two-digit numbering system, listing colors in no particular order. As the range demanded by designers increased and many more colors were offered in the 1970's and 1980's, two digits quickly proved inadequate. As a result the original scheme was overlaid by three-digit and eventually four-digit numbers in between the original two-digit colors in the line.

Manufacturers produce swatch books, which contain a small sample of each color, along with the color name and manufacturer's catalogue number. Many manufacturers also provide spectral analysis for each color and transmission values, expressed as a percentage of light allowed to pass through the filter from the light source. Swatch books enable designers and technicians to have a true representation of the manufacturers' range of colors.

Many[citation needed] designers choose a limited color palette for generic applications because it is financially and logistically difficult to have access to all colors for a single show.

Color correction gels absorb light of some wavelengths more than others. This Rosco gel has a low transmittance at long wavelengths.

There are also gels for color correction, such as CTB (color temperature blue) and CTO (color temperature orange). Color correction gels alter or correct the color temperature of a light to more closely match the color temperature of a film negative or the white balance of a digital imager. Specifically CTB, which is blue in appearance, will correct tungsten lights that typically have a color temperature in the range of 3,200 to 5,700 kelvins to more closely match the color temperature of "daylight" negative, which is usually around 5,400 K (nominal daylight). CTO, which is orange in appearance, will correct a "daylight"-balanced light source (such as many common HMI bulbs) to match the color temperature of tungsten negative, which is typically 3,200 K. There are "half" and "quarter" variations of the common color correction gels. It is common to use color correction gels for artistic purposes and not just for negative-to-lightsource correction.

Most ranges of gels also include non-colored media, such as a variety of diffusion and directional "silk" materials to produce special lighting effects. "Opal" for example is an opalescent or translucent diffusion filter.

It is common for a gel manufacturer to publish the transmission coefficient or even the spectral transmittance curve in the swatch book and catalogs. A low transmittance gel will produce relatively little light on stage, but will cast a much more vivid color than a high transmission gel, because the colorfulness of a light source is directly related to narrowness of its spectral linewidth. Conversely, the flatter its curve becomes, the closer the gel is to a neutral density filter.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Color gel

View on Grokipedia
from Grokipedia
A color gel, also known as a lighting gel or color filter, is a thin, heat-resistant sheet of translucent colored material designed to alter the color, intensity, and quality of light emitted from sources such as lamps or LEDs. Typically manufactured from durable polymers like polyester or polycarbonate, these gels filter specific wavelengths of light while transmitting others, enabling precise control over illumination effects without significantly reducing light output. Originally derived from colored gelatine sheets imported from Germany in the early 1900s for use in professional theaters, color gels faced supply disruptions during World War I, prompting the development of gelatin-based alternatives in the United States by manufacturers like Rosco Laboratories. Over the decades, advancements in synthetic materials shifted production to more stable, flame-retardant polycarbonate and polyester formulations, which withstand high temperatures from stage and studio lights. Today, color gels are categorized into types such as color-correction gels for balancing white light temperatures and creative color gels for mood enhancement, with standardized numbering systems like the Rosco or Lee Filters swatch books aiding selection. In practical applications, color gels are indispensable in theater and live events to evoke emotional atmospheres, match skin tones, or complement set designs by placing sheets in front of fixtures via color frames or scrollers. In photography and cinematography, they create dramatic effects like rim lighting or background hues, transforming neutral setups into vibrant, stylized images while compensating for mixed lighting conditions. Architectural and event installations further employ gels for aesthetic illumination, such as accentuating building facades or enhancing party ambiances, underscoring their versatility across creative and technical fields.

Fundamentals

Definition and Purpose

A color gel, also known as a lighting gel or gel filter, is a thin, translucent sheet made of polycarbonate or polyester that is colored with dyes or pigments to selectively filter specific wavelengths of light. These materials allow the gel to be placed in front of a light source without significantly distorting the beam's shape or intensity, while transmitting only the desired colors. The primary purpose of color gels is to modify the color of white light emitted from fixtures, enabling the creation of colored lighting effects that enhance mood, improve visibility, or support artistic expression in various visual productions. By absorbing unwanted wavelengths and transmitting others, gels transform neutral illumination into vibrant hues, such as turning broad-spectrum light into a warm amber or cool blue tone to evoke specific atmospheres. This non-invasive approach preserves the original light source while allowing precise control over the visual output. At its core, the functionality of a color gel relies on the physics of selective absorption and transmission within the visible light spectrum. When white light, which contains all wavelengths from approximately 400 to 700 nanometers, passes through the gel, the embedded dyes or pigments absorb photons of certain wavelengths while allowing others to pass through unchanged; for instance, a red gel will transmit red wavelengths (around 620-750 nm) and absorb shorter blue and green ones, resulting in a predominantly red output. This subtractive color process ensures that the gel acts as a spectral filter, reducing overall light intensity proportional to the absorbed energy but prioritizing color purity over brightness. Originally developed for theatrical applications to simulate natural or dramatic lighting on stage, color gels have become essential tools across modern visual media, including film, photography, and architectural installations.

Materials and Composition

Color gels are primarily composed of a transparent substrate infused or coated with dyes to selectively filter light wavelengths. Historically, gelatin served as the substrate, offering flexibility but limited durability; it is now rare due to its susceptibility to moisture and heat degradation. Modern color gels predominantly use synthetic polymers such as polyester (polyethylene terephthalate, PET) and polycarbonate as substrates. Polyester, exemplified by Rosco's Cinegel, provides good flexibility and is commonly used for general applications, while polycarbonate, seen in Rosco's Roscolux and Supergel lines, offers superior durability and rigidity. Compared to polyester, polycarbonate exhibits higher heat resistance, with a softening point exceeding that of polyester (which typically resists deformation up to 126–143 °C), deforming at around 149–163 °C. Both materials demonstrate reasonable UV stability, but polycarbonate's body-colored variants resist fading better under prolonged exposure. Dyes in color gels are typically organic compounds, valued for their vibrant color rendition, though some formulations incorporate inorganic pigments for enhanced longevity and reduced susceptibility to chemical breakdown. To prevent fading, dyes are embedded through methods like surface coating on polyester (simple application without heat), deep dyeing (via heated solvent baths that penetrate the substrate), or body coloring (mixing dyes into polycarbonate resin during extrusion at approximately 600°F), which minimizes dye migration under heat or UV light. Modern polycarbonate gels, such as Roscolux, incorporate flame-retardant additives for improved safety compliance. Key performance properties include light transmission percentages ranging from 10% to 90%, depending on the gel's density and intended effect; for instance, a gel with 1.0 optical density transmits only 10% of light, effectively blocking 90% to achieve deeper saturation. Modern polycarbonate-based gels resist deformation up to approximately 149–163 °C, while standard polyester variants are rated up to 126–143 °C. Environmental factors influence longevity: polyester may develop brittleness or cracking with age and repeated heat cycles due to molecular orientation shrinkage, while polycarbonate shows greater resistance to such degradation; both can suffer chemical breakdown from prolonged UV exposure or contaminants, leading to color shifts or reduced efficacy.

History

Early Development

The development of color gels began in the late 19th century as theaters sought ways to tint stage lighting using transparent materials. Earlier precursors included colored liquids in bottles, such as red wine or saffron-infused solutions, described by Italian architect Sebastiano Serlio in 1545 for theatrical effects. By the early 20th century, professional theaters in New York relied on colored gelatin imported from Germany, typically consisting of boiled animal gelatin mixed with dyes such as aniline-based pigments. These gels were placed in front of hot carbon arc lamps, the dominant lighting technology of the era, but they were highly prone to melting and degradation due to the intense heat, often requiring frequent replacements during performances. The outbreak of World War I in 1914 disrupted European imports, prompting American innovation in domestic production. In 1910, Sidney Rosenstein founded Rosco Laboratories, initially producing colored lacquers for theater signage, but the war led to the development of gelatin-based color filters through collaboration with chemists. A key accidental innovation occurred in 1919 when an off-color batch, dubbed "Bastard Amber," was recognized by electrician Louis Hartmann as a valuable warm tone, becoming one of Rosco's earliest best-sellers and highlighting the trial-and-error nature of early gel formulation. During the 1930s, color gels gained widespread adoption in Hollywood for film lighting, enabling cinematographers to control mood and color temperature with arc and incandescent sources on soundstages. Post-World War II, advancements included the integration of more stable synthetic dyes into gelatin bases, yielding brighter and longer-lasting colors that addressed prior issues of fading and fragility under prolonged use. These improvements, driven by companies like Rosco through the establishment of the Gelatin Products Company, facilitated reliable commercial production and reduced the need for constant substitutions in demanding theatrical and film environments.

Modern Advancements

In the 1960s and 1970s, color gel technology shifted from fragile gelatin-based materials to more durable synthetic bases, addressing limitations in heat resistance for use with high-temperature tungsten lamps. Late in the decade, manufacturers like Colortran introduced "Gelatran," a polyester-based filter that withstood higher temperatures without melting, marking an early transition from gelatin sheets. In 1970, Rosco launched "Roscolar," coated on a Mylar polyester base, further popularizing this material for its improved longevity under stage lighting conditions. By 1976, Rosco's "Roscolux" utilized a body-colored polycarbonate base, enhancing heat tolerance and becoming a global standard for professional applications. The 1980s and 1990s saw refinements in formats and the of alternative coloring technologies, improving ease of use and optical . sheets became standardized in sizes like 20 by 24 inches for cutting to fit instruments, while rolls—typically 24 by 25 feet or 48 by 25 feet—facilitated large-scale production and custom applications. Frames for holding gels in fixtures also proliferated, streamlining installation in theatrical and event setups. Concurrently, dichroic gels, which use thin-film interference for reflection-based coloring rather than absorption, gained traction starting in the late and into the , offering greater and consistent color output under . From the 2000s onward, advancements focused on compatibility with emerging LED sources and digital integration, alongside performance enhancements. LED-compatible gels, such as Lee's Zircon series (801–821), incorporate UV and blue light blocking to correct color temperatures and reduce unwanted casts in LED fixtures, with optical densities exceeding 4 in UV and up to 470 nm ranges. Rosco's Roscosun CTO filters similarly enable precise color correction for LEDs without rapid degradation. Digital color matching systems, including Rosco's MIXBOOK app-controlled swatchbook that emulates over 130 Roscolux colors using six-chip LEDs, and Lee's online comparison tool for spectral transmission data, allow designers to preview and select from extensive palettes exceeding 100 options. Industry standards for light transmission, provided by manufacturers like Rosco and Lee through detailed spectral profiles, ensure consistent performance metrics such as percentage transmittance across wavelengths, aiding precise design in professional lighting.

Types and Colors

Color Systems

Color gels are organized through standardized numbering and naming systems developed by major manufacturers to facilitate selection and consistency in lighting design. These systems categorize gels by hue, intensity, and function, often accompanied by spectral transmission data to indicate wavelength peaks and light output. Rosco's Roscolux system, for instance, uses numerical designations such as #26 for Light Red, which transmits primarily in the red spectrum with a peak around 650 nm and an overall transmission of approximately 12%. Similarly, Lee Filters employs a three-digit numbering scheme, exemplified by #101 Yellow, which serves for sunlight effects and transmits yellow wavelengths peaking near 570 nm. The GamColor system, now under Rosco, utilizes a three-digit classification divided into nine hue sections based on the visible spectrum, with blues in the 800s (e.g., #800 for primary blue) and reds in the 200s (e.g., #180 Cherry for a vibrant red). Apollo gels follow a comparable chart-based approach, often cross-referenced with GamColor for compatibility in theatrical applications. In color theory for gels, the process is subtractive, where filters absorb specific wavelengths from white light to produce desired hues, unlike additive mixing of projected beams on a surface. For example, layering a cyan gel (absorbing red) with a magenta gel (absorbing green) results in blue transmission by blocking those primaries. Spectral output charts, such as Rosco's Spectral Energy Distribution (SED) curves, plot transmission percentages across wavelengths (400-700 nm), revealing peaks for each gel—e.g., green gels peak at 520 nm— to aid designers in predicting color rendering under various light sources. These charts emphasize how gels selectively transmit energy, with denser colors showing narrower peaks for vivid effects. Gels are broadly categorized into primaries, secondaries, and neutrals to align with lighting needs. Primaries include red, green, and blue filters, forming the basis for core color correction and effects, as seen in Rosco's CalColor series where these provide pure spectral outputs. Secondaries, such as orange (red-yellow blend) and purple (red-blue blend), derive from primary combinations and offer intermediate tones for mood enhancement. Neutrals encompass frost and diffusion gels, which scatter light without hue shift, maintaining even illumination. The GamColor system explicitly references this structure in its circular hue classification, grouping primaries and secondaries for intuitive selection. Transmission metrics quantify the light passed through a gel, crucial for intensity planning. Full-color gels typically transmit 20-50% of incident light, balancing vibrancy with output—e.g., Rosco #26 at 12% for intense red, while lighter tints approach 50%. Diffusion neutrals, by contrast, achieve 80-100% transmission to preserve brightness while softening beams. These values, derived from spectral analysis, vary by wavelength and source temperature, ensuring gels do not overly dim fixtures in professional setups.

Special Effects Gels

Special effects gels encompass a range of specialized filters designed to produce non-standard visual outcomes, such as adjustments, dramatic simulations, and light modifications beyond uniform coloration. These gels enable designers to simulate environmental conditions, enhance mood, or control unwanted spectral components in , , and architectural applications. Correction gels, including Orange (CTO) and Blue (CTB), are essential for balancing mismatched light sources. A full CTO gel converts daylight-balanced sources at approximately 5600K to tungsten-balanced 3200K, warming cooler light to match incandescent fixtures. Conversely, a full CTB gel shifts tungsten light from 3200K to daylight at 5600K, cooling warm sources for natural outdoor simulations. Partial variants, like quarter CTB (e.g., Rosco Cinegel #3208), provide subtler adjustments, boosting 3200K to 3500K with 74% transmission to compensate for partial daylight variations or voltage drops. Multi-layer or gradient gels facilitate smooth color transitions and specialized filtering. By stacking multiple gel sheets, designers achieve fades or rainbow spectra, blending hues for sunset gradients or prismatic effects in transitional lighting. IR/UV gels, such as LEE #226 U.V., block ultraviolet and infrared wavelengths—reducing transmission below 50% at 410nm—to minimize heat buildup and prevent color contamination from invisible light. Similarly, Rosco's IR/UV filter reflects near-UV and IR energy while passing visible light, protecting sensitive environments like museums from thermal damage. Representative examples illustrate practical applications of these gels. LEE Filters #789 Blood Red delivers a deep, saturated crimson ideal for simulating blood or intense dramatic highlights in theatrical scenes. Rosco Cinegel #19 Fire provides a strong red-amber tint with 20% transmission, effectively mimicking flickering flames in fire simulations for film and stage.

Applications

Stage and Theater Lighting

Color gels play a pivotal role in stage and theater lighting by filtering light from fixtures to create dynamic visual environments that support narrative elements in live performances. They are commonly integrated into instruments such as PAR cans for broad color washes, ellipsoidal spotlights for focused beams with precise color control, and moving heads for versatile, automated effects during dynamic scenes. These gels are secured in standardized metal or fiber frames, often sized at 7.5 by 7.5 inches for popular ellipsoidal fixtures like the ETC Source Four, allowing easy insertion at the front of the lens barrel to alter the light's hue without modifying the fixture itself. Lighting designers employ color gels to execute techniques that enhance ambiance and direct audience focus, such as applying broad color washes across the stage to establish mood—for example, using deep blue gels like Rosco 74 Night Blue in night scenes to convey mystery or serenity. In cyclorama (cyc) lighting, specialized silk diffusion gels, such as Rosco 125 Blue Cyc Silk, are layered over primary colors to soften edges, prevent scalloping from multiple light sources, and achieve seamless, even coverage on backdrop surfaces, simulating skies or abstract environments. These approaches draw from established color systems like Roscolux, where numbered filters ensure consistent transmission and mixing for additive color blending. Despite their effectiveness, color gels present challenges in live theater settings, particularly heat buildup from absorbed wavelengths that can accelerate fading and reduce color intensity over extended use, prompting the adoption of durable polycarbonate-based gels like Roscolux that withstand higher temperatures before degrading. Designers mitigate this by selecting low-absorption filters or incorporating heat shields, but the need for quick gel swaps during performances—often via manual frame changes or automated scrollers holding multiple gel strips—adds complexity to real-time adjustments, ensuring uninterrupted cues in fast-paced shows. Notable applications include Broadway musicals, where Rosco gels contribute to immersive mood creation; for instance, in Wicked, lighting designer Kenneth Posner utilized a range of Roscolux filters, including greens and blues, to evoke the show's fantastical Oz setting and emotional transitions.

Film and Photography

In film and photography, color gels are essential for precise lighting control in controlled studio environments, where they are often placed on key lights to adjust color temperatures and enhance skin tones. For instance, a +1/2 CTO (color temperature orange) gel can warm a cool daylight-balanced light source, providing a flattering fill that mimics natural indoor illumination and prevents unnatural blue casts on subjects' faces. This technique is particularly valuable in portrait and cinematic setups, ensuring consistent tonal balance across shots. Additionally, gels enable practical effects simulation, such as replicating firelight by applying orange or red filters to lights, which creates flickering warmth when combined with manual dimming or diffusion for realistic glow on actors or models. On location, photographers and cinematographers frequently employ portable color gels clipped or handheld onto speedlights to integrate artificial light with ambient conditions, allowing for quick corrections in dynamic outdoor scenarios. These gels help balance mixed lighting sources, such as warming flash output to match golden-hour sunlight without overexposing highlights. For softer portrait lighting, diffusion gels—often combined with color correction types like CTB (color temperature blue) for subtle toning—are layered over speedlights or natural light paths to reduce harsh shadows and create even, flattering illumination on skin, enhancing depth and mood in environmental shots. In modern digital workflows, color gels facilitate seamless integration with LED panels by matching their output to tungsten or daylight standards, minimizing discrepancies that could complicate post-production color grading. Cinematographers gel LEDs to achieve unified scene temperatures on set, reducing the need for extensive corrections in software like DaVinci Resolve, where residual mismatches are compensated through LUTs or curves for accurate final hues. This approach preserves creative intent while streamlining the transition from capture to edit, especially in hybrid shoots blending practical and virtual elements.

Architectural and Event Lighting

In architectural lighting, color gels are applied to floodlights for uplighting building facades, enabling dynamic color transformations that accentuate structural features during evening hours. These gels, typically polycarbonate-based, filter white light sources to project vibrant hues onto exteriors, creating immersive effects for public spaces or commercial buildings. For holiday displays, such as seasonal illuminations on urban landmarks, weather-resistant gels are mounted on outdoor flood fixtures to produce shifting color palettes that enhance festive atmospheres without permanent alterations to the architecture. Durability is paramount for outdoor installations, where gels must withstand environmental exposure including UV radiation and temperature fluctuations. Fade-resistant variants, like Rosco's Supergel line made from body-colored polycarbonate, offer high color stability through uniform dye extrusion, minimizing degradation over extended periods in long-term setups. UV-protected polycarbonates are preferred for prolonged facade applications, ensuring high color stability while meeting flame-retardant standards such as German B1. In event lighting, color gels enhance ambiance at weddings, DJ booths, and corporate gatherings by integrating with uplights to wash walls or structures in thematic colors. Battery-powered LED strips often employ clip-on gel filters for portable setups, allowing quick color changes to match event motifs like warm ambers for intimate receptions or cool blues for modern celebrations. These gels, compatible with low-heat LEDs, provide subtractive color mixing for precise mood control in temporary venues. Large-scale events, including concerts and ceremonies, utilize gels for dynamic color shifts that synchronize with performances. In concert venues, traditional gels on PAR cans or scrollers deliver saturated accents, though their use has declined with the advent of RGB LED fixtures; nonetheless, they remain valued for custom subtractive effects in hybrid designs. Recent LED-compatible gels, such as Lee's Zircon series, address color rendering issues in these applications by optimizing transmission for white LEDs.

Manufacturing and Selection

Production Process

The production of color gels begins with the preparation of raw materials, primarily heat-resistant plastic substrates such as polycarbonate or polyester films. For body-colored gels like Rosco's Roscolux, dyes are mixed directly with powdered polycarbonate resin and extruded at approximately 600°F into continuous 24-inch-wide sheets of finished thickness, incorporating a fire-retardant additive during this stage to enhance safety and durability. In contrast, polyester-based gels, such as those produced by LEE Filters, start with clear extruded polyester film reels, which serve as the base for subsequent dyeing processes. Dyeing occurs through various methods depending on the gel type, ensuring even color distribution and light transmission. Surface-coated gels involve applying solvent-based dye solutions to polyester film via coating machines or hand-coating bars, often in double-sided, multi-pass applications to achieve precise color control without penetrating the substrate deeply. Deep-dyed variants pass the polyester through a heated dye bath, allowing organic dyes to penetrate the polymer structure for greater heat stability and reduced fading under intense lighting. Following application, the dyed sheets are dried in controlled environments to fix the pigments and solidify the color. Once dyed and cured, the sheets undergo cutting and quality control to meet industry standards. Large reels—up to 500 meters long—are converted into smaller rolls or individual sheets using semi-automatic machines, with final sizing achieved via precision cutters to fit standard lighting frames. Quality assurance includes laboratory testing for color transmission uniformity against established standards, as well as heat and flame resistance checks to ensure the gels melt rather than burn, complying with safety regulations like European and British standards. Industrial-scale manufacturing is handled by specialized firms such as Rosco Laboratories and LEE Filters, producing vast quantities of gel sheets annually to supply global theater, film, and event industries, with processes optimized for consistency and minimal waste through non-oriented extrusion techniques that prevent shrinkage.

How to Choose Gels

Selecting the appropriate color gels requires careful consideration of several key factors to ensure optimal performance and safety in lighting applications. Light source compatibility is paramount, as gels must align with the spectral output of the fixture. For tungsten lamps operating at approximately 3200K, color correction gels like full CT orange (CTO) convert daylight sources to match, while CT blue gels adjust tungsten to daylight (around 5600K). With LEDs, which often have cooler temperatures (5000-7000K) and potential green spikes, specialized filters such as Lee's Zircon series (e.g., 801 Half Minus Green) correct color casts without excessive light loss. Desired light transmission influences visibility and mood; higher transmission percentages (e.g., 80-90% for pale gels) allow more light through for bright, visible effects, whereas low-transmission saturated colors (e.g., 10-20% for deep reds) create dramatic, low-key atmospheres but reduce output significantly. Gel size and format also matter: standard sheets (typically 20x24 inches or 21x24 inches) suit individual fixtures, while rolls (e.g., 48 inches wide by 25 feet long) enable custom cuts for larger setups or scrollers. Tools facilitate informed selection, including physical swatch books from manufacturers like Rosco's Roscolux or Lee's Colour Swatch Book, which display actual color samples under various lights. Digital aids, such as Lee's Gel Comparator for transmission comparisons or Rosco's myColor web tool for filtering and palette creation, predict mixing outcomes and compatibility. Budget plays a role, with premium brands like Rosco and Lee offering durable, high-quality polycarbonate options (around $10-20 per sheet) versus more affordable polyester alternatives from suppliers like Apollo. Common pitfalls include neglecting heat ratings, which can lead to melting; polyester-based gels withstand up to 356°F (180°C), while polycarbonate versions handle 536°F (280°C), but proximity to hot tungsten sources demands frames or clips for distance. In video production, failing to match gels to the camera's white balance can result in unintended color shifts, requiring test shots with CTO/CTB adjustments. Sourcing gels involves reputable suppliers such as Barbizon Lighting for professional-grade stock or online catalogs from Rosco and Lee Filters Direct, where bulk rolls reduce costs for large projects. Sample packs or swatch books (often $20-50) allow testing without full commitment, ideal for beginners or custom palettes.

Safety and Maintenance

Handling Precautions

When handling color gels, users should be aware of physical hazards such as sharp edges that can occur when cutting sheets to size, which may cause cuts or abrasions; wearing cut-resistant gloves is recommended to protect the skin during this process. Color gels pose fire risks due to their combustible nature, particularly when exposed to high heat from lighting fixtures; they should be positioned at a safe distance from hot bulbs or lenses using gel frames to prevent melting or ignition, and multiple layers must not touch to avoid fusing together under heat. Gels are flammable materials, so they must be avoided near open flames or sparks, and only flame-retardant types rated for theatrical use should be selected to reduce fire hazards. Best practices include always using dedicated gel frames to hold sheets securely in lighting instruments, preventing direct contact with hot components and ensuring safe positioning. In case of burns from hot fixtures or spills of dye residue, immediately cool the affected area with water, seek medical attention for severe cases, and have fire extinguishers rated for electrical fires readily available nearby.

Durability and Lifespan

Color gels degrade primarily due to heat absorption from lighting fixtures and exposure to ultraviolet (UV) light, which accelerate fading and material breakdown. Heat generated by the absorption of non-transmitted wavelengths causes dyes to migrate or sublimate, leading to color shifts, while repeated thermal cycles can induce cracking or brittleness in the base material. UV exposure further contributes to pigment degradation, particularly in saturated colors like deep blues and greens, which absorb more energy overall. The lifespan of color gels varies by material composition, with polyester-based gels offering durability up to approximately 260–290°F (126–143°C) before softening, while polycarbonate variants withstand higher temperatures of 300–325°F (149–163°C), allowing for extended use in demanding environments. Polycarbonate gels, such as those in Rosco's Supergel line, generally outlast polyester options due to superior heat stability and resistance to aging-induced brittleness, often providing reliable performance over multiple productions. Under continuous theatrical use, saturated colors may require more frequent replacement than lighter tints, though exact durations depend on fixture wattage and ventilation. Signs of wear in color gels include noticeable color fading or shifting toward unintended hues, increased brittleness that leads to cracking, and physical distortion from heat exposure. These indicators signal the need for inspection and replacement to maintain consistent lighting effects, as degraded gels can alter scene mood or reduce light transmission efficiency. Proper maintenance extends gel longevity; cleaning should be performed using soft microfiber cloths and mild, non-abrasive solutions like distilled water with a drop of neutral soap to remove dust and residues without scratching the surface. Avoid chemical solvents or abrasive materials, which can damage the dye layer or base film. Additionally, using heat shields like Rosco's Super Heat Shield or Lee's 269 Heat Shield between the light source and gel can deflect infrared energy, reducing thermal stress and prolonging usability. For storage, keep gels in a cool, dark environment away from direct sunlight and humidity to minimize UV-induced fading and prevent warping; rolled sheets in protective tubes or flat in acid-free envelopes are ideal to avoid creases. Manufacturers like Rosco and Lee Filters promote recycling of used polyester and polycarbonate gels through local programs, as the materials are recyclable when separated from frames. In professional theater setups, gels are treated as expendable items, with budgets allocated for periodic replacement to ensure performance reliability; durable polycarbonate options help minimize costs by reducing turnover frequency compared to standard polyester sheets.

References

  1. https://www.studiobinder.com/blog/what-are-gels-in-lighting/
  2. https://www.studysmarter.co.uk/explanations/media-studies/filmmaking/lighting-gels/
  3. https://spectrum.rosco.com/index.php/2010/11/the-first-100-years-from-gelatine-to-roscolux
  4. https://www.adorama.com/alc/how-to-use-lighting-gels/
  5. https://theatrecrafts.com/pages/home/topics/lighting/choosing-and-using-colour/
  6. https://petapixel.com/color-gels/
  7. https://stagedepot.co.uk/lighting/lighting-gel
  8. https://www.stagespot.com/expendables/gel.html
  9. https://www.streamsemester.com/articles/using-gels
  10. https://goknight.com/blog/everything-you-need-to-know-about-lighting-gel-sheets/
  11. https://www.videomaker.com/article/c13/13544-lighting-gels/
  12. https://www.hypop.com.au/blogs/blogs/lights-camera-colour-an-introduction-to-using-colour-gels-in-photography
  13. https://scienceblogs.com/dotphysics/2010/05/04/how-do-color-filters-work
  14. https://evidentscientific.com/en/microscope-resource/knowledge-hub/lightandcolor/filter
  15. https://us.rosco.com/sites/default/files/content/resource/2016-09/Guide_to_Color_Filters.pdf
  16. https://us.rosco.com/en/color-filters-entertainment-lighting
  17. https://us.rosco.com/sites/default/files/content/resource/2020-01/LeeHT_to_Rosco_Supergel_Conversion_Chart.pdf
  18. https://stagedepot.co.uk/lighting/lighting-gel/technical/299-12-neutral-density-lighting-gel
  19. https://novaonline.nvcc.edu/eli/spd130et/histlighting.htm
  20. http://www.lightingandsoundamerica.com/RoscoCentury.pdf
  21. https://www.rosco.com/promotions/roscoat100/images/Rosco_The_First_100_Years2.pdf
  22. https://tsstage.com/collections/all-standard-colors-20-x-24-sheets
  23. https://goknight.com/categories/theatrical-lighting/gels/gel-rolls.html
  24. https://blog.etcconnect.com/2020/09/history-of-moving-lights
  25. https://www.laserfocusworld.com/optics/article/16552518/dichroic-filters-provide-color-stability
  26. https://leefilters.com/lighting/colour-effect-lighting-filters/
  27. https://us.rosco.com/en/products/catalog/roscolux
  28. https://us.rosco.com/en/product/mixbook
  29. https://leefilters.com/lighting/lee-lighting-filters-colour-comparison-tool/
  30. https://www.rosco.com/sites/default/files/content/resource/2016-09/FilterFacts09.pdf
  31. https://www.rosco.com/us/litreq/catalogs/guide_to_color_filters.pdf
  32. https://us.rosco.com/en/products/catalog/gamcolor
  33. https://norcostco.com/gam-color/
  34. https://gelpress.com/blogs/art-and-inspiration/what-are-the-3-primary-colors
  35. https://us.rosco.com/en/product/cinegel
  36. https://spectrum.rosco.com/index.php/2017/01/a-photographic-guide-to-our-colour-filters
  37. https://leefilters.com/lighting/technical-filters/
  38. https://us.rosco.com/en/product/color-correction-filter-kit
  39. https://us.rosco.com/en/products/filters/r3208-quarter-blue-ctb
  40. https://jakehicksphotography.com/latest-techniques/2021/1/8/creating-gradients-with-coloured-gels
  41. https://leefilters.com/colour/226-lee-u-v/
  42. https://us.rosco.com/en/product/iruv-filter
  43. https://support.etcconnect.com/ETC/Fixtures/Source_Four/Source_Four_ERS_and_HID/Appropriate_Gel_Frame_and_Gobo_Holders_for_Source_Four
  44. https://www.citytheatrical.com/products/beam-control/accessories/color-frame
  45. https://shehds.com/blogs/actualites/what-color-gels-for-stage-lighting
  46. https://emea.rosco.com/en/products/filters/r125-blue-cyc-silk
  47. https://blog.etcconnect.com/stage-lighting-design-part-4
  48. https://topdancelight.com/controllable-properties-of-ellipsoidal-reflector-spotlight/
  49. https://spectrum.rosco.com/index.php/2014/03/spectrum-wavelengths-green
  50. https://fstoppers.com/diy/how-use-cto-and-ctb-gels-change-color-your-background-213810
  51. https://www.premiumbeat.com/blog/6-ways-use-lighting-gels/
  52. https://www.fjwestcott.com/blogs/lighting-tips/using-photography-gels-on-location-with-the-fj80-touchscreen-speedlight
  53. https://www.videomaker.com/how-to/lighting/lighting-equipment-lighting/lighting-gels-and-how-they-work/
  54. https://us.rosco.com/en/product/supergel
  55. https://spevevents.com/2018/12/types-of-uplighting-for-your-special-event/
  56. https://pro.harman.com/insights/performing-arts/color-theory-for-concert-lighting-design/
  57. https://leefilters.com/lighting/zircon-led-lighting-filters/
  58. https://www.youtube.com/watch?v=pleAN9jPhl8
  59. https://us.rosco.com/en/mycolor
  60. https://www.linkedin.com/advice/0/what-some-common-mistakes-avoid-when-using-gels
  61. https://shop.barbizon.com/store/category/TMB/expendables/gel-and-lighting-filters
  62. https://leefiltersdirect.com/apps/frequently-asked-questions
  63. https://www.reed.edu/ehs/safety_manuals/Theater-Safety-Manual-July-2023.pdf
  64. https://cinematography.com/index.php?/forums/topic/35661-hmi-safety-precautions-and-using-gels-on-strong-lights/
  65. https://fiveable.me/theater-production/unit-6/color-theory-gels/study-guide/N92XdJbHlBBLqR9s
  66. https://www.stagelightgear.com/Article-details.html?article_id=817
  67. https://leefilters.com/colour/269-lee-heat-shield/
Add your contribution
Related Hubs
Contribute something
User Avatar
No comments yet.