Color correction filter that eliminates magenta cast from LED panels and enhances green channels. Operates at 65–75% light transmission with +CC15 to +CC60 values.
Plus Green filters operate with a light transmission of 65-75% and a color temperature shift from typically 5600K to 5200K at +CC40. The films are made of heat-resistant polycarbonate with a maximum temperature resistance of 150°C. Standard versions are 1/4 Plus Green (+CC15), 1/2 Plus Green (+CC30), and Full Plus Green (+CC60). The spectral transmission shows attenuation in the red and blue regions with increased green transmission between 520-570nm.
Plus Green developed in the 1970s as a response to the uneven spectral characteristics of early HMI lamps, which exhibited a pronounced green cast. Osram and later LEE Filters standardized the CC values in 1982 for consistent color correction. With the advent of digital cinematography from 2005 onwards, Plus Green gained new significance for matching various LED panels, as these often exhibit spectral gaps in the green range.
On "Mad Max: Fury Road" (2015), DoP John Seale used Plus Green filters on HMI lamps to match desert scenes with practical light sources. A typical workflow: LED panels receive 1/4 Plus Green, while tungsten lamps are combined with 1/2 CTO to achieve identical color values. The filter eliminates the typical magenta cast of cheaper LED systems and creates more natural skin tones. Disadvantage: The light loss of 25-35% requires stronger base lighting.
Minus Green acts in the opposite direction and corrects excessive green components from fluorescent tubes or old HMI bulbs. CTO filters only change the color temperature without a green-magenta shift. Modern RGB LED panels offer digital color correction and are increasingly replacing physical filters. However, Plus Green remains indispensable when mixing different light sources, as subsequent color correction in post-production requires complex masks and reduces image quality.
Ich verwende Plus Green hauptsächlich beim Mischen von LED-Panels mit Tageslicht, weil die meisten Consumer-LEDs einen fiesen Magenta-Cast haben. Mit 1/4 Plus Green auf den Panels spare ich mir stundenlanges Color-Matching in der Vorbereitung und bekomme sofort natürliche Hauttöne.
Plus Green hilft mir dabei, die sterile Kälte von LED-Licht zu durchbrechen und eine organischere Atmosphäre zu schaffen. Besonders in Innenräumen nutze ich den Filter, um das künstliche Licht natürlicher wirken zu lassen und die emotionale Verbindung der Charaktere zu ihrer Umgebung zu stärken.
Plus Green kostet 15-25 Euro pro Bogen, aber spart mir teure Post-Production-Stunden für Farbkorrekturen. Der Lichtverlust bedeutet zwar 30% mehr Stromverbrauch, aber das ist günstiger als ein zusätzlicher Colorist-Tag oder Render-Zeit in der DI-Suite.
1. Zu welchem Department gehört „Plus Green"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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