Most used Lee gels

[0059099]

Hi All,

 

For a refurbisment of the multi-function auditorium at my job, I have to start the gel collection of with 40 Lee sheets (and some HT sheets for the selecon cyc lights). Now the question is, what colors/ numbers?

 

I want: 151,152,153,201,195,181,156,101,172, 106,139, and a primary blue (which do you prefer 079 or 196)

 

So thats 12 colors already, what would you suggest for the others?

[mac.calder]

Just because you can get 40 sheets does not mean you need to get 40 colours, in fact you would be better off getting a few sheets of common colours.

 

Make sure you have plenty of frosts, and maybe a few CCT gels.

 

I have no idea what those Lee gels are, because I don't have my swatch book on me. That said, if you chose 20-30 different gels, then buy a couple of the more 'popular' ones (ie I know I use quite a bit of L195, so I would probably make sure I had 2 or 3 sheets of it in stock)

[Andrew C]

What, no 103 (straw)? I'd also add some #??? silk, fabulously useful stuff, and 136 (Pale Lav).

[gareth]

What kind of programme does your venue present? A venue that bases its programme around light entertainment, concerts and one-nighters will need a different selection of colour to one which presents plays, or hosts conferences and exhibitions, for example.

[0059099]

Concerning 40 sheets or 40 colours, I porbably will get some double, so in fact I can maybe have like 35 colours. But budget wise (this is the "fun" part), I can now only get 40 sheets (for them: read 40 different colours), but if I need new sheets as "maintenance" then I can get whatever I need. (so if I burn through 4x 152 filter for 500W lamps, I order a new sheet... (cause it is then maintenance and doesn't have to be approved).

 

That being said: The theatre part of the venue is mostly used for amateur theatre, some presentations, maybe a band or two and small amateur musicals and occasionally standup comedians and small orchestra work (brass band and such).

 

I never used frost, CCT and silk, but I get the feeling I'm missing something then. So most people here use them?

[mac.calder]

I never used frost, CCT and silk, but I get the feeling I'm missing something then. So most people here use them?

 

Frost is a great tool when you want to soften light - I find I use it a lot on specials.

 

CCT - when things are being filmed or photographed, it is nice to have a little bit of CCT there. Also good when you have a director who wants "Sunlight" and is really picky.

[marky]

It just depends what you are trying to achieve. There are a lot of tools available to a lighting designer, it's their job to find the appropriate tool for the job to get an effect.....frost and silk are important tools, but not always necessary.

[gareth]

Sounds like you need a pretty mixed bag!

 

A handful of nice fruity colours (106, 134, 126, 128, 132, 119, 139, 158, 182, 148, etc.) for the bands and comedians ... some lighter colours (201, 151, 147, 136, 111, etc.) and some darker blues/ambers for the plays and musicals ... colour for presentations would probably depend on the colour of any set that's being used, and the corporate colours of the company/organisation concerned ... orchestras like open white! Colour choice is very much personal taste, of course - but given the multi-purpose nature of the venue you might do well to stick to the more 'ordinary' Lee colours (i.e. don't go for the 3xx or 7xx ones) as those are the ones that any visiting LDs or lighting techs will know and love, and will be comfortable using.

 

As for frosts - always a useful thing to have around. They make focussing a FOH wash very quick and easy - just focus everything sharp, and then drop some frost in to fluff it up. Works especially well if you've got profiles which don't soften especially well on the lenses. Rosco #119 is a very useful one - perhaps #114 if your FOH throw is particularly short, or #132 if you want less of a softening effect. Silks are more limited in their usefulness, but you might find it useful to have a sheet or two in stock ...

[dbuckley]

I adore 117, 136 and 137, most other tint needs I can busk with whatever I find in the box :wacko: I would have a 107 or 109 to go opposite the 15x golds, and for blue I like the 141 bright blue, goes well both for fres and can use.

[TNVS2]

Quality information from all of the above.

Would reccomend getting in brushed silk, (228). and half hampshire frost, and trying them. V-useful, got me out of a spot many a time, when I screwed up, and specified the wrong lamp for the job required!

No-one has suggested CTB or CTO.

Colour temperature correction, (colour temperature blue, or colour temperature orange)

 

lee 201-203 for blue, 204-206 for orange.

 

Now a popular replacement for the steel blue/straw combination. (117/103).

 

Technical filter used more commonly in the world of film, and worth having!

 

Something else worth laying your hands on, not gel, but free from lee, is a colour temperature table. Got one on my desk in the office, and is invaluable when working with telly boys, film, discharge lighting etc...

 

Other tricks of the trade, lighten the colour you are trying to get by attacking the gel with a hole punch...

Also try split gel, cutting a frame of gel in half, and using 2 colours in the same lamp, diagonally, to get 2 colours out of the same lamp, useful for set lighting!

 

Best of luck.

 

K.

My favourite colour is 201 and 344 in combination. Perfect night blue!

[Just Some Bloke]

{snip}... and a primary blue (which do you prefer 079 or 196)

 

I just wanted to mention that 079 is not really a primary and 196 is nowhere near with a transmission of 26%. Most people use 119 as Primary Blue, though 120 is deeper (meaning less light output at only 1.26%).

 

Other "most used" colours would normally include steel and straw (117 and 103 respectively) for warm and cold washes. I like using 202 & 203 as well as just 201, though that's just a personal thing maybe, and 205 is always useful too. 136 is always popular; certainly a lavender of some sort is a must, I'd think.

 

Have you tried getting a model box and lighting it with a maglight with pages of the swatch book held in front? You might get some good ideas that way.

[ampcats]

Note from the moderators : this member has deleted/edited several of his posts in a fit of pique. Apologies if it makes the thread harder to follow - we've reinstated what we can, but the newer ones hadn't been cached so there's nothing we can do about them.

[TNVS2]

201 and 344 was not learnt! I mixed it myself, for a show in the Vanburgh, summer term '95. Maybe someone has been nicking my idea!

Or is as good, or better than me, and thinking on their feet!

 

Regardless, it's a great combination, and worth a try!

 

Can't think of the show name, but remember having custom gobos made up, back proj from 2x source four 36 degree (first few in the country).

The show lasted five nights, and hardly a scorch on the gobos! Still have them today!

Were used to back to project text onto false windows. "Wilson's accountants"

No donut required, (apart from the LD!!!) did the job perfectly!

 

Was also the first time I used barn doors and brushed silk on parcans! Not too popular with the teaching staff, as it was not the way things "were done"!

Looking thru my student report for that show, and having a good giggle at the comments from the teaching staff, of alleged best drama school in the world!

K.

and still here!

[ankersandrew]

got to have congo blue 181

[0059099]

Thanks for all the replies and good idea's! (using a minimag light is a great one ) and do keep them coming... :)

 

To elaborate; Since this is also the first time I have to setup cyc lights, I need 4 filter colors (4x4x500W setup) I'm thinking of RBGB and especially the Blue is giving me headaches...