Having said this, the color shift (at the beam edges) in most cases is acceptable and may even be desirable since these saturated filters are mostly used to achieve dramatic effects. Wider angle optics exhibit more color shift than do narrower optics since incident angles exiting the filter are wider. Some of the more saturated color dichroics show color shifts at the edge of the beam – all dichroics have this issue because the incident angle of the light source(s) determines the projected color. Will the Projected Light Show Uniform Color Across the Beam? Before inserting the filters into the fixture, remove the plastic button on the center of the optics to get a better fit.These filters should only be used in fixtures indicated in the product description page of the specific filters.Install the filters with the dichroic-coated side facing the light source.It is highly recommended that designers test color filters on specific applications before they commit to purchasing the filters for a project – and to use fixtures with high lumen outputs. The most saturated of the filters (such as red, green, and indigo) should only be used on light-colored objects. Lighting a tree with dark-colored bark requires a much brighter light than lighting a light-colored object. The resulting illumination will be beautiful, but may be less bright than anticipated and require a light source with higher lumen output.īrightness is also dependent on what is being illuminated. This is why the purer (saturated) the color, the greater reduction in perceived brightness. If the initial proportion of green light was only 5% of the white spectrum then the resulting quantity of green light will only be 5% of the original. A green dichroic filter works by reflecting (back into the fixture) all the non-green wavelengths of light and only allowing the green portion to pass through. There is no way to transform the entirety of a beam of white light into a beam of (for example) green light. Every color filter (regardless of type) reduces the quantity of light that passes through. The key to making this a successful strategy is to make sure that the fill or key light is white – this allows the colored lights to provide a dramatic emphasis. For example, a statue may be primarily lit from the front (fill light) with white light, then lit from the side (key light) with amber light, then lit from the back (backlight) with an indigo light. These lights can, however, be used as backlights or accent lights that, when used with white light, provide dramatic, mysterious, or romantic effects. Unlike color correction filters, these colors should not be used as primary area lighting, nor for floods or spots – unless a dramatic special effect is desired. They are primarily used for holiday lighting or for special effects. These are filters with more saturated colors such as dark blue, indigo, orange, green and red. Color correction filters can be used for general area lighting or for prominent flood and spotlighting in a project. The resulting light is still considered “white” but it will have qualities slightly different from the original light – especially noticeable when viewed side-by-side. These are meant to shift the color temperature of white light to a light that is slightly more blue (cool) or yellow (warm). VOLT® sells two families of Dichroic Color Filters The use of dichroic color filters is the most efficient and precise way to change the color of a light source. The other way to change colors is to use tinted glass filters – these are less costly than dichroic filters but they absorb more light (are less efficient) and tend to fade with time. ![]() If you pass that light through a blue dichroic filter, only the blue portion of the white light passes through while all the other colors are reflected back towards the light source. Dichroic filters are circles of glass with a set of coatings that reflect certain colors (of light) and allow other colors to pass through.įor example, white light contains all colors in the visible light spectrum.
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