Rosco Gels
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kicknargel
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thenelsontwins
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Cinegel and E-Color.
Cinegel are their film/video color correction filters. Basically, things that are in the 3000/4000 range are part of the Cinegel line. This includes the scrims, diffusions, and reflective materials. Some of these specialty items can NOT (or shouldn't) be used in direct contact with lighting fixtures they are, as noted in the previous post, reflectors/bounce material. You may find that some of the colors are exact replicas of your typical Roscolux colors. FYI, some of them are simply Roscolux colors with different numbers. Feel free to use a chunk of the Cinegel in the theater, they have a lot of wacky stuff in there, but a lot of that wacky stuff can come right out of the Roscolux line and you'll never notice.
The E-Color line matches, color for color, name for name, the LEE Filters offerings. LEE being the common filter used in film and television as well as in theaters outside of the US/North America. Although, it is present in theater in the US/North America as they've got some bad ass colors that can't compare to Roscolux. You'll note, if you have a LEE Filters swatch book, it also includes reflector/bounce materials similar to the Cinegel line.
The theory behind this is that E-Color and LEE are to be interchangeable. In reality I don't find this to be true. On my own shows I have subbed E-Color for LEE and have noted a difference in saturation, temperature, and longevity with the E-Color. None of these subtle differences have been a big enough problem for me to care, but we're only using gel for a week or so at a time so how E-Color would hold up in a theater that re-uses gel I can't say. Plus, done is better than good.
Now given that, I wouldn't mix LEE and E-Color side by side in the same rig. Yet, if I were expecting all LEE 119 and got ALL E-119 I probably wouldn't notice anything. If it were a mix of both, there might be an issue. Of course, I'm not too picky and am more concerned with going back to the hotel and not working as long as the show looks close to right. Nor am I working in front of a $300,000 cinema camera or doing national broadcast events.
Of course, there are designers that will NOT accept E-Color for LEE in the same way that they will not sub Rosco for LEE.
Cinegel are their film/video color correction filters. Basically, things that are in the 3000/4000 range are part of the Cinegel line. This includes the scrims, diffusions, and reflective materials. Some of these specialty items can NOT (or shouldn't) be used in direct contact with lighting fixtures they are, as noted in the previous post, reflectors/bounce material. You may find that some of the colors are exact replicas of your typical Roscolux colors. FYI, some of them are simply Roscolux colors with different numbers. Feel free to use a chunk of the Cinegel in the theater, they have a lot of wacky stuff in there, but a lot of that wacky stuff can come right out of the Roscolux line and you'll never notice.
The E-Color line matches, color for color, name for name, the LEE Filters offerings. LEE being the common filter used in film and television as well as in theaters outside of the US/North America. Although, it is present in theater in the US/North America as they've got some bad ass colors that can't compare to Roscolux. You'll note, if you have a LEE Filters swatch book, it also includes reflector/bounce materials similar to the Cinegel line.
The theory behind this is that E-Color and LEE are to be interchangeable. In reality I don't find this to be true. On my own shows I have subbed E-Color for LEE and have noted a difference in saturation, temperature, and longevity with the E-Color. None of these subtle differences have been a big enough problem for me to care, but we're only using gel for a week or so at a time so how E-Color would hold up in a theater that re-uses gel I can't say. Plus, done is better than good.
Now given that, I wouldn't mix LEE and E-Color side by side in the same rig. Yet, if I were expecting all LEE 119 and got ALL E-119 I probably wouldn't notice anything. If it were a mix of both, there might be an issue. Of course, I'm not too picky and am more concerned with going back to the hotel and not working as long as the show looks close to right. Nor am I working in front of a $300,000 cinema camera or doing national broadcast events.
Of course, there are designers that will NOT accept E-Color for LEE in the same way that they will not sub Rosco for LEE.
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