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Andreas Eymannsberger

Golden tint for keylight in a theatrical / stage setting

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For a commercial I am thinking about a stage setting with deep blue dark background while I want to create some color contrast and have a really rich, deep gold key.
We don't need it to look exactly like theater - upstage is mandatory, but I want to enhance it, have it softer and with deeper falloff than usual 'lit up' stages.

Budget is limited, but we could shift around the provided trusty old theatrical fresnels with additional diffusion or rig daylight based LEDs with snap bags.


Regarding the golden tint - what would be choices either way? I guess it's a lot more difficult with daylight based sources?

For Tungsten:

- Gold Tint 151?
- Light Amber 102?


For Daylight 5600K (LED):
- Chrome Orange 179?

- Deep Abmer 104?
- CTS + any light amber?

I would be so glad about any suggestions!

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Speaking as a theatre director, I would be inclined to first ask what the play is. A bare stage is rarely lit, unless it's deliberate for the play.


There is no key light in the theatre. It would be too hot. Musicals often use a follow spot for soloists, but it usually blends with the rest of the lighting design. It's a four-way plot to like an actor so she looks three-dimensional. Two lekos on the front, two fresnels at the rear, generally speaking.


By all mean use the theatrical instruments available to you. They cast a different glow than film lights. Lekos and fresnels are generally standard instruments. Fresnels with barndoors are helpful for casting distinct shapes, like light spilling through a doorway or window.


I would consult a theatrical lighting designer and director in your area for specifics on your shoot. Break a leg!

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I think there's some need for clarification:

We are actually not lighting a play, but a magic show and the lighting is mostly about the magician and some surrounding props for the golden tint. That's the main question. (The 'set design' on stage will be Astera AX1 Tubes, the black background will be lit blue with 5600K even bluer gelled LED Panels, not much more to light there.)

So I am not at all looking for a classical theatrical look but for a much softer, warmer result.

We will be keying with an array of 2ks and 1ks in one spot through half silk (that's actually the cheapest option for our needs because most of it is available and just needs to be re-arranged)

So repeating the question:

How to tint halogen/tungsten lights gold?


From what I learned so far on my own I am lookint at Lee Gold Tint 151 (which would even be available at the location ... conveniently)

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If your camera is set to the color temperature of the base lighting units (3200K for tungsten, 5600K for HMI's) then the gels over them should create the same effect more or less (some HMI's can go a little green or are bluer than others).


"Gold" is a somewhat subjective color, sort of yellow-orange -- there are any number of gels with that color, such as Straw (CTS) though I'd probably add some yellow to CTS to make sure it felt gold and not orange.

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