LEE Filters 3 x 3" 47B Polyester Filter - Clear Blue

16
  • Filmtools #: 5707
  • Mfr #: 47BP3
Availability
Product Features
  • Lee 3" x 3" Tricolor Blue 47B Polyester Filter
  • Used for tricolor separation work
  • Primarily used for black and white photography
  • Can be cut to size and placed in filter holders

Availability: In stock

You Pay: $16.00
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  • Overview

    Lee 3" x 3" Tricolor Blue 47B Polyester Filter - SMPTE BLUE 47B.

    The Blue 47B Filter is a deep blue filter that accentuates haze and fog. Also used in dye transfer printing and for contrast effects (lightens blue tones). It is used in cojunction with:

    The Red # 25 is ideal for strong contrast improvement since it absorbs green and blue completely and enhances red. Clouds are dramatically improved almost to the mood of a thunderstorm. It is more effective in cutting through haze, and moonlight effects are easily accomplished. It is also suited for infrared photography.

    The Green #58 offers maximum transmission at 530nm, and can also be used as a contrast filter for black and white photography, where it will lighten green tones and darken reds.

     

    SMPTE BLUE If your monitor does not have a BLUE GUN ONLY switch, you will need to obtain a blue filter to look at the bars. You'll need a 47B Blue filter. Newtek's Calibar comes with cardboard specs which are the right color; Quvis Corp. used to have promotional cardboard specs the right color. You may also use a pure blue gel such as Rosco's #80 Primary blue.

    WARNING: The COLOR BAR file supplied with Adobe Premiere 5.x is not SMPTE standard. Using these bars at the header of a tape will cause a dub house or broadcaster to adjust the chroma too low. You should use SMPTE bars generated by a professional camera. The bars generated in Adobe Premiere 6.x are correct.

    BASIC: 1. Allow monitor to warm up for 5-10 minutes minimum. Adjustments will not be accurate on a cold monitor.

    2. Display SMPTE color bars on monitor. Turn CHROMA (color level) control all the way down.

    3. Find the PLUGE (superblack, black, and gray bars) at the lower right of the pattern. Adjust BRIGHTNESS control until there is no difference visible between the superblack and black bars, but a difference is visible between the black and gray bars.

    4. Adjust CONTRAST control to achieve a balanced gray scale across top bars.

    5.Switch on BLUE GUN ONLY switch, or look at bars through blue filter.

    6. Turn up CHROMA (color level) control until the two outermost bars (white and blue appear to match in brightness.

    7. Adjust COLOR PHASE (tint or hue) control until the third bar from the left (cyan) and the third bar from the right (magenta) appear to match in brightness.

    8. Your monitor/TV is now properly adjusted. Remember to take off the Quvis specs or switch your monitor back to normal before editing!

    - John Jackman

    Member, Society of Motion Picture and Television Engineers (SMPTE)

Lee 3" x 3" Tricolor Blue 47B Polyester Filter - SMPTE BLUE 47B.

The Blue 47B Filter is a deep blue filter that accentuates haze and fog. Also used in dye transfer printing and for contrast effects (lightens blue tones). It is used in cojunction with:

The Red # 25 is ideal for strong contrast improvement since it absorbs green and blue completely and enhances red. Clouds are dramatically improved almost to the mood of a thunderstorm. It is more effective in cutting through haze, and moonlight effects are easily accomplished. It is also suited for infrared photography.

The Green #58 offers maximum transmission at 530nm, and can also be used as a contrast filter for black and white photography, where it will lighten green tones and darken reds.

 

SMPTE BLUE If your monitor does not have a BLUE GUN ONLY switch, you will need to obtain a blue filter to look at the bars. You'll need a 47B Blue filter. Newtek's Calibar comes with cardboard specs which are the right color; Quvis Corp. used to have promotional cardboard specs the right color. You may also use a pure blue gel such as Rosco's #80 Primary blue.

WARNING: The COLOR BAR file supplied with Adobe Premiere 5.x is not SMPTE standard. Using these bars at the header of a tape will cause a dub house or broadcaster to adjust the chroma too low. You should use SMPTE bars generated by a professional camera. The bars generated in Adobe Premiere 6.x are correct.

BASIC: 1. Allow monitor to warm up for 5-10 minutes minimum. Adjustments will not be accurate on a cold monitor.

2. Display SMPTE color bars on monitor. Turn CHROMA (color level) control all the way down.

3. Find the PLUGE (superblack, black, and gray bars) at the lower right of the pattern. Adjust BRIGHTNESS control until there is no difference visible between the superblack and black bars, but a difference is visible between the black and gray bars.

4. Adjust CONTRAST control to achieve a balanced gray scale across top bars.

5.Switch on BLUE GUN ONLY switch, or look at bars through blue filter.

6. Turn up CHROMA (color level) control until the two outermost bars (white and blue appear to match in brightness.

7. Adjust COLOR PHASE (tint or hue) control until the third bar from the left (cyan) and the third bar from the right (magenta) appear to match in brightness.

8. Your monitor/TV is now properly adjusted. Remember to take off the Quvis specs or switch your monitor back to normal before editing!

- John Jackman

Member, Society of Motion Picture and Television Engineers (SMPTE)