Kolorem

On set, you've probably worked with standard gels — thin, flexible, prone to deforming under constant heat. Kolorem is the more robust alternative: pressed plastic filters that function like gels but have a completely different material structure. Instead of soft, cellulose-like fabric, you get a dense, heat-resistant synthetic resin laminate. This makes a difference when lights run in the same position for extended periods — in theater, for example, where a spotlight burns for 8 hours straight, or in extended setups in film where you don't want to re-filter every 45 minutes.

The practical advantages are obvious: Kolorem doesn't warp, it doesn't yellow as quickly under UV radiation, and color saturation remains more stable. You can position them closer to the light source than ordinary gels — important when space is tight or when you need to work with less light loss. The material is tougher, can be cut more precisely, and holds up better even if it tears in the holder. However, Kolorem is more expensive to purchase and less flexible in the literal sense — for complex diffusion shapes or curves, you need specialized cutting techniques or pre-cut pieces.

In theater, Kolorem has long been standard because lighting designers there expect fewer changes and higher continuous load standards. In film sets, it's primarily used by DoPs for elaborate nightclub scenes, studio daylight simulations, or visual effects that require constant color temperature over multiple takes. The color palette corresponds to common gel standards (Minus-Green, Minus-Blue, Straw, etc.), but with better durability and color purity. Be aware: Not all lighting fixture holders hold Kolorem equally well — with older instruments, the extra stiffness can lead to pressure marks.

You should store Kolorem flat and cool, ideally in plastic boxes rather than rolled up like gels. The investment is worthwhile for stable lighting concepts where you want to minimize changes and color consistency is critical.