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gel color accuracy...?


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LEE 201 (based on their samples) seems lighter (in hue) than Rosco's full CTB.

In the past I've used LEE 201 for bringing my 1k pars up to daylight, but

I ran into a killer deal on some Rosco rolls and am wondering about

their color accuracy compared to LEE gels?

 

any thoughts?

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so in other words, don't mix. probly sound advice.

 

any other thoughts out there regarding ROSCO's purplish difference.

and if LEE is more accurate when it comes to true tungsten->daylight?

Edited by john spader
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Accuracy is not necessarily what you're chasing. It's more about whether you like the effect you're getting. I've used all kinds of blue gels to 'correct' tungsten, and all kinds of warm gels to take HMIs the other way. In the film days, many DPs used Coral, Straw, Chocolate, Sepia or Suede instead of an 85 filter on the lens. There are many ways of 'correcting' a lamp, it's all down to taste.

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Personally I stick with Lee. I have no other reason for that aside from sharing a middle name with them. But yes, I wouldn't want to really mix Rosco and Lee at the same time because, while no one will probably notice it, it would likely drive me mad.

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  • 2 weeks later...

The huge difference is in the CTS range. Definitely try not to mix rosco and lee as they come nowhere near matching.

 

As others have said Between the brands the CTB and CTO are different but in most circumstances not critically so.

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  • 2 weeks later...

Lee is British and the gel is color dipped, while Rosco is American and the dye is baked in, which is why Rosco gels last longer. The color differences are usually attributed to the different tastes between the US and England. Rosco makes a Euro color collection, which is closer to Lee and also dipped. I prefer Lee for CTB and CTO but Rocso for theatrical colors. As mentioned earlier, its best not to mix the Rosco and Lee versions of the CTB, but they are only off by a little. The CTO is also a bit different. They both work just fine however.

 

David Landau

author, new book "Lighting for Cinematography"

www.lightingforcinematography.com

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