Lee #250 'Half White Diffusion'—medium diffusion filter with 55% transmission. Pronounced light scattering with 'wrap-around' effect while maintaining shadow detail—most versatile for professional film lighting.
Lee #250 "Half White Diffusion" (also called "1/2 White") is a medium diffusion filter made of milky white polyester with 55% light transmission (0.85 stops loss). The filter spreads light at an angle of 35-45°, producing significantly more "wrap-around" than 216, but less than 251. The material thickness is 0.13mm, with heat resistance up to 120°C. The name "Half White" refers to its intermediate position between 216 (Light) and 251 (Heavy) in the Lee diffusion series.
250 Diffusion is the classic choice for "Book Light" setups: a Fresnel spotlight shines onto a white reflective surface (bounce board), which throws the light through a 250 frame in front of the subject. This two-stage diffusion (bounce + diffusion) creates extremely soft yet controlled light with natural falloff. Cinematographers like Roger Deakins use this technique for intimate dialogue scenes where the light should support the emotion without being noticeable.
| Parameter | 216 (Light) | 250 (Half) | 251 (Quarter) | 129 (Heavy Frost) |
|---|---|---|---|---|
| Transmission | 82% | 55% | 40% | 30% |
| Light Loss | 0.3 Stops | 0.85 Stops | 1.3 Stops | 1.7 Stops |
| Spread Angle | 15-25° | 35-45° | 60-80° | 90°+ |
| Shadows | Defined | Soft, visible | Very soft | Almost eliminated |
| Wrap-around | Minimal | Medium | Strong | Very strong |
250 is suitable for: Key light in interviews and portraits (the "TV news standard"), window light simulation with natural falloff, fill light while maintaining directional characteristics, and as frontal diffusion in beauty setups. For exterior shots, 250 in large frames (12x12, 20x20) serves as an "artificial cloud" for flattering skin tones. The balance between softness and definition makes 250 the most versatile diffuser in the professional arsenal.
250 is typically stretched in grip frames: 4x4 frames (approx. 1.2m x 1.2m) for single individuals, 6x6 frames for two-person scenes, 12x12 frames for group scenes, or as an "overhead silk." The distance between the diffuser and the light source affects the quality: close to the spotlight = more point-light character retained, far away = larger apparent light source = softer light. For maximum softness: position 250 as close to the subject as possible (but outside the frame).
250 can be stacked: 250 + 216 results in an effect similar to 251 with finer falloff. 250 + 1/4 CTO creates "Warm Soft" for an evening mood. In extreme heat: Rosco Tough Silk or Lee HT series as an alternative. For budget productions: polyester shower curtains can yield similar results but have less consistent quality. Modern LED softboxes with built-in diffusion are increasingly replacing 250 setups, but do not achieve the same control over light quality.
The Lee 250 is my workhorse for soft lighting with character. The diffusion is strong enough to turn harsh Fresnels into pleasant light, but not so extreme that the shadows disappear. For interview setups with a 650W Fresnel through a 4x4 frame with a 250, I achieve the "natural window light" look that clients expect.
250 Diffusion is my go-to for dramatic scenes where I want soft light with emotional depth. The resulting shadow rendering gives faces dimensionality, while the softness makes the actors look flattering. The difference to 216 is immediately visually apparent – 250 creates the "film look" that makes scenes cinematic.
The 250 is our most ordered diffuser because it works for 80% of all soft light needs. The light loss of just under 1 stop is predictable and rarely requires stronger fixtures. The versatility reduces equipment needs – instead of specialized softboxes, we use Fresnels with a 250 in various frame sizes.
1. Was beschreibt „250 Diffusion" am besten?
2. Zu welchem Department gehört „250 Diffusion"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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