Rosco Roscolux Quick Start Guide
NEW EDITION 2010
As a producer of colour filters for the Performing Arts, Rosco has focused on the science of colour for nearly 100 years. But
tage lighting is an art, not a science. The people who use Rosco filters are artists who qualify light and manipulate the
s
spectrum to enhance stage pictures, dealing with colour, contrast, perception and the creation of an emotional climate. This
uide was developed with two objectives, firstly to offer some recommendations for filter colour selection and secondly to
g
provide some technical background of colour filter technology.
Most of the colours in the Rosco range have been created by and for designers over the years to achieve specific effects
and the ranges are extensive. A virtually unlimited palette can be achieved by additive mixing using multiple sources and
the new wider range of Rosco filters. Apart from the obvious “cooler” and “warmer” variation of colour through the dimmer
setting, most filter colours have warmer and cooler filters of similar hue listed in the Application pages.
The range of colours from Rosco continue to evolve, designers will innovate and new artistic needs will emerge and be met.
USING THIS GUIDE
ROSCO FILTER RANGES FOR THIS GUIDE
This guide was developed to provide designers with suggestions
on how specific Rosco colours might be used for lighting the
stage. We have grouped the colours to some commonly
accepted categories.
Lighting the Acting Ar
Cool and Neutral groups for lighting acting areas. These
colour distinctions help to establish the mood, emotion, time
and place. The colours included are generally flattering to skin
tones and enhance scenery and costumes.
Accent Lighting is also divided between Warm and Cool.
These slightly more saturated colours may be used to shape
and define an object or person. Typically, accent lighting is
focused from side or back positions or, on occasion, as down
light.
Natural Light on stage usually comes in one of four variants:
warm sunlight, cool daylight, moonlight and cyclorama wash
lighting used to create the illusion of a sky/horizon line. This
section of the guide makes r
colours appropriate to each of these applications. Here you
will find suggestions that render both true, natural lighting and
ong, stylized sky lighting. Y
str
play will determine which is the right choice for you.
Special Effects lighting encompasses a broad category. Listed
in this section are strong, stylized colours that can be used to
create dramatic lighting effects from fire and rain to surreal,
ominous atmospher
personal and determined by the needs of the overall design.
eas
es. Again, the choice of colour is pur
e divided among Warm,
these ar
ecommendations for choosing
our design and the needs of the
ely
Choices are not immutable. As Tharon Musser has said,
Supergel: the premier colour range of high temperature resistant filters
and diffusion.
The range of colours evolved mostly by dialogue with designers
world-wide, and offer fresh alternatives to the old world Cinemoid
derived colours.
E-Colour+: a compr
colour filters for the lighting designer with notation originated for
Cinemoid. The correction filters, numbered 2 – 300 were primarily for
photography film and television, but some are used by designers for the
colour character, and are listed in the tables in the Guide.
*11 New E-Colour+ Colours now incorporated in the sections on
applications in the new edition of the guide.
Roscolux: has been the colour of designer choice for 30 years in the
U.S and is available in Europe and includes many new colours, including
the Academy A
and diluted paler colours.
ehensive range of filters in one swatchbook, with
ward winning range of CalColor primaries, secondaries
SOME CONTRIBUTORS TO THIS GUIDE
Richard Pilbrow
Widely regarded as the dean of lighting designers for both London and
Broadway, he also headed Theatre Projects consultants. He has authored
two much acclaimed books on stage lighting.
Jennifer Tipton
Jennifer Tipton’s many awards for lighting in dance, theatre and opera
include two Tonys, two Bessies, two American theatre Wing awards, two
Obies and two Drama Desk A
University School of Drama, she has influenced a generation of lighting
designers.
wards. A veteran teacher at the Yale
Ken Billington
“ If a colour doesn’t
look right on stage,
just change it.
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2
”
He has designed the lighting for over 50 Broadway productions and
garnered six Tony nominations in the process. The long term Principal
Lighting Designer for New York’s Radio City Music Hall, he has worked
extensively in television and architectural design.
Donald Holder
Donald Holder’
“The Lion King” earned him the triple crown of theatrical awards. The
ony A
T
s brilliant lighting design for the Broadway production of
ward, the Drama Desk Award and the Outer Critics Circle Award.
Designers on Colour
Colour has been an important component of stage lighting since the days of candles and silk. We reproduce here
omments on the subject from the published works of some leading lighting designers:
c
Gilbert V. Hemsley, Jr.
“I think one of the greatest joys of lighting design is communicating to
an audience how you, as a designer, feel about and understand
colour. Walking out from a darkened theatre on a sunny Spring
afternoon and feeling my response to the warm sunshine, the
Supergel 64 of the blue sky and the light green shadows of the new
leaves makes my head spin with the realization that I can translate my
colour excitement to a production of ‘You Can’t Take It With You’. I
can make an audience see and feel the excitement of a beautiful
S
pring afternoon when the curtain goes up in a darkened theatre.
It may sound strange, but I car
head. As I see, feel, and respond to colour and colour combinations
i
n the real world, I make mental notes of the colours I see and my
esponses to them. I have a storehouse of emotional and rational
r
responses and the colours that go with them.
ning to be artists as lighting designers it is exhilarating to have
In lear
a full personal response to color and color combinations in the real
world and then communicate them to the real audiences of the theatre
world."
Francis Reid
“My filter philosophy is simple. Colour can support and enhance the
work of actors, their clothes and their scenic envir
using filters, I may be removing some parts of the light but I am
enhancing those that remain. I am aware that my audience, like
myself, watch a lot of television so I must light to produce much more
natural skin tones that I did thirty years ago. My colour ambience
now has to surround the actor, tinting the environment, particularly the
airspace that the light passes through and the floor that it hits, while
leaving the face and the costume as naturally coloured as possible usually with Supergel 351. The practicalities of my approach are
based simply upon the r
filters, then I can put that spectrum together again by superimposing
the filtered light beams. It is a gloriously unscientific process; not so
much a rule-of-thumb as one of crossed fingers. And trusting my eyes.”
ry a colour swatchbook around in my
onment. When
ealisation that if I take the spectr
um apar
t with
Nigel Morgan
“Out of all the parameters that the lighting designer sets when
composing a composition, colour is the one most likely to get an
immediate reaction from other members of the team. Given the
number of colour tones available, making the right choice isn’t
always easy. That is why it is so important to experiment with lighting
models, colour and fabric samples - and to share the discoveries you
make with the rest of the creative team. Where else can you
‘rehearse’ your lighting
t
one, combined with the right intensity and source position, mix the
right blend with other lights.”
Richard Pilbrow
ed white light reveals colour. Part of the magic of stage
“Fractur
lighting is taking complex multi-directional palettes of colour and
re-combining them into lucid, dramatic light for the stage.
When I began lighting, only about fifty shades of Cinemoid were
available. I often used them two or three to a frame seeking new
possibilities. Then I discovered the Rosco range and first brought this
wonderful range to Britain. Now the possibilities are almost limitless.
Colour brings life, textur
Jennifer T
“The use of colour is key to a lighting designer’s craft. I am constantly
reminded as I watch the light change from the brilliance of a sunny
morning to the early dusk of a winter afternoon, how much colour
there is in natural so-called ‘white light’ and how much variety in
colour can be made by simply brightening and dimming a light. It is
a wonderfully juicy thing to ‘paint’ with coloured light – to use light
expressionistically – to make the audience feel the scream, live the
blues or dance with danger
simply be about the beauty of juxtaposing one colour next to another
and being able to change it from one moment to the next for purely
compositional reasons. But I am also madly in love with the ravishing
light that can be made fr
colours – lavender, blue and clear – that makes the skin glow no
matter what colour the skin may be.”
ipton
? In the model room you can find just the right
e and vibrancy to the stage. I love it!”
. Or to paint with colour
om the use of the ver
ed light can
y limited range of
David Belasco
eatest par
“The gr
for colours, translated into effects of light.” (1919)
t of my success in the theatr
e I attribute to my feeling
The late Gilbert V. Hemsley, Jr. said that
“ I carry a colour swatchbook
around in my head
An example of his brilliant application of colour is shown in the photo on the left.
”
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3
Understanding The Spectrum and SED Curves
V
isible light is the small part of the spectrum of electromagnetic
radiation between approximately 400 and 700 Nanometers. Each
wavelength has a “spectral signature”, or colour, ranging from violet
at 400 through indigo, blue, green, yellow and orange to red at
7
00. The combination of these coloured wavelengths creates white
light. Coloured light can be described as the presence of certain
wavelengths and the absence of others.
A colour filter functions by selectively transmitting or blocking
(absorbing) spectral elements of a beam of white light emanating
from a light source. For example, a Supergel 27 Medium Red filter
will allow red light frequencies to pass through and absorb blue and
green. Of the radiant energy which is blocked, by far the largest part
is absorbed by the filter as heat. This is why heat stability is a
significant consideration in filter design. The heat created by the
a
bsorption of energy leads to degradation of the filter.
Lighting designers mix or blend colours through an additive or
subtractive process. Blending light beams of different colours on a
s
urface is an additive process. Creating a coloured beam by filtering
white light is a subtractive process – the desired colour is transmitted
while the other wavelengths are absorbed (or “subtracted”).
A Spectral Energy Distribution (SED) curve is a graph of the
transmission of energy plotted by wavelength. These curves are
included in the swatchbooks of Rosco filters. In Fig. 1, the curve for
Supergel 27 shows that frequencies above 620 nM will pass through
the filter at varying percentages, while the wavelengths below will
not. With this information, you can predict what colour the filter will
render.
A
s a reference, the peak intensity for violet is 440, blue 480, green
520, yellow 570 and red, 650.
Most Rosco colours are blends so the curve will have multiple peaks.
T
he graph for Supergel 54 Lavender for example, shows a high
component of both violet and red. (Fig. 2)
Supergel No.27 Med Red
Fig.1
Supergel No.54 Special Lavender
Fig.2
Designers on Colour
Traditionally, correcting the colour temperature of various lamps has
been a chore left to architectural lighting designers or cinematographers,
but the wide range of light sources used in modern theatrical lighting
has changed this. Rosco offers filters for balancing different lamp
types.
Lighting a scene with both a 4000°K Metal Halide lamp and also a
3200°K incandescent lamp will result in either the Metal Halide
appearing very blue, or the incandescent very red, depending on the
overall balance of light on stage. To correct for this, either raise the
colour temperature of the incandescent to 4000°K using 202 (1/2
CT Blue) or lower the Metal Halide to 3200°K with 206 (1/4 CT
Orange).
For more information on colour correction filters, see the Rosco
publication “Filter Facts” or visit the website.
It is important to remember that filtration is a subtractive process filters
can only transmit or block frequencies of light, not add them to a
source. This is significant when using lamps that are deficient in
particular wavelengths.
Although many lamp types seem attractive because they offer the
economy of long life, they have a limited spectrum. A typical metal
halide source, (Fig. 3) for example, has very little energy in the red
end of the spectrum. Note that even the most common theatrical
source, the tungsten-halogen or incandescent lamp (Fig. 4) although
rich in red/yellow, is deficient in blue/green. These characteristics of
sources and filters are most obvious when one becomes familiar with
the relevant SED curves.
Fig.3
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4
Fig.4
Manufacturing High Temperature Colour Filter
A
colour filter combines light refracting elements, normally organic dyes, which are suspended in or coated on a transparent base. Rosco began
producing gelatin filters in 1910, but since the 1950s, colour filters have been fabricated on plastic bases. Polycarbonate, the base used for the
Supergel range, is the most durable of the polymers currently utilized.
T
here are three methods currently employed to integrate dyes with polymer bases in order to create colour filters. The products are described as:
• Surface Coated
• Deep Dyed
• Body Coloured
Surface Coated Polyester - (Rosco E-Colour+, Lee Filter)
Optically clear polyester film (PET) is coated with a flame retardant and dye solution on one or two
sides to a precisely controlled thickness. The carrier solvent is baked off leaving a stable coating
bonded to the substrate. Advanced dye technology gives good resistance to dye fade in hot lights.
Deep-Dyed Polyester - (Roscolux, Cinegel and GAM Filter)
Like surface coated PET, deep dyed film begins with a roll of clear polyester. The film is passed
through a bath of heated solvent suffused with dye. The solvent causes the PET film to swell
expanding the polymer structure of the film and allowing the dye molecules to penetrate the surface.
The film is then washed and the polymer contracts to its normal form, trapping the dye molecules
below the surface.
Deep-dyed filters tend to be slightly more resistant to fading than surface coated filters.
Body-Coloured Polycarbonate - (Supergel)
In a body-coloured colour filter like Supergel the colour is inherent within the plastic substrate.
Powdered resin and dye is mixed under intense pressure and heat of over 300°C and the mixture is
extruded through a die to form a coloured core of film. In Rosco’s co-extrusion process further
extruders seal this core in between two more layers of clear polycarbonate. This locked-in colour,
combined with the high temperature resistant polycarbonate gives very high heat withstand to colour
filter even in very hot lighting instruments.
It is possible to coat polycarbonate film, but the Rosco system eliminates ‘str
occur in coated filter – which means in hot spotlights and scrollers if the filter buckles or shrinks there
are serious problems; indeed scrollers should be fitted with Supergel colour, for safety’s sake.
ess’ orientation which may
Flame Retardance in Colour Filters
All Rosco colour filters comply with cur
rent regulations for flame retardance, in the UK, this is:
BS3944 pt1: 1992.
Supergel, by virtue of the polycarbonate base and state-of-the-art technology, also is certificated:
France M1
Germany B1 (DIN 4102-01)
Austria MA39
Italy C1 and
Spain M2.
Shown here is a cross section of co-extruded Rosco Supergel filter
photographed thr
ough an electron microscope. Note the discrete clear
layers on the top and bottom sealing in the colour core.
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5
Lighting the Acting Areas - filters for warm acting areas
Stage lighting is an art, not a science. We show here, as suggestions, some widely used applications for specific Rosco
colours. Supergel and E-Colour+ and Roscolux numbers on the same line across the columns are close or similar colours.
our design and the needs of the production should determine the right colour choices for you.
Y
Note: The colour bands are intended as a guide only as matching printed colours with filter colours is not possible. For a true representation please contact Rosco or
your local dealer for a swatchbook.
SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS
302 Pale Bastard Amber Very pale warm white. Perfect for enhancing
the HPL lamp in a Source 4.
01 Light Bastard Amber 176 Loving Amber Enhances fair skin tones.
Suggests strong sunlight.
02 Bastard Amber 162 Bastard Amber 02 Bastard Amber Good where a tint of colour is needed.
Excellent for natural skin tones.
03 Dark Bastard Amber 108 English Rose Most saturated Bastard Amber.
303 Warm Peach 109 Light Salmon Strong Amber with undertones of pink.
Useful for warm sunrises and sunsets.
04 Medium Bastard Amber 004 Medium Bastard Amber Especially useful when cross lit with a cool
colour. Excellent for natural sunlight.
304 Pale Apricot 152 Pale Gold A peach amber.
e yellow than 305.
Mor
05 Rose Tint A clean pale pink; useful as a “blush” for skin
tones.
305 Rose Gold 154 Pale Rose A pale blush amber for skin tones and
backlight.
06 No Color Straw Slightly off-white.
Good for interiors.
07 Pale Yellow 007 Pale Yellow Double saturation of 06.
08 Pale Gold Warmer Straw.
Flattering to skintones.
223 Eighth CT Orange 3410 Roscosun 1/8 CTO Nominal Daylight to 5200°K.
Pale Amber.
206 Quarter CT Orange 3409 Roscosun 1/4 CTO Nominal Daylight
to 4600°K
205 Half CT Orange 3408 Roscosun 1/2 CTO Nominal Daylight
to 3800
285 Threequarter CT Orange 3411 Roscosun 3/4 CTO Nominal Daylight
to 3500°K. Nice strong Amber.
204 Full CT Orange 3407 Roscosun CTO Nominal Daylight
to 3200
444 Eighth CT Straw
443 Quarter CT Straw 3443 Quarter Straw Light Sepia.
442 Half CT Straw
441 Full CT Straw 3441 Full Straw Full Sepia.
3444 Eighth Straw
3442 Half Straw
4515 CC15 Yellow Very pale yellow. Interior lighting to create
4530 CC30 Y
4560 CC60 Yellow Strong Yellow with green tone:
4590 CC90 Y
ellow Medium yellow with green tone: bright
ellow
Pale Sepia.
Medium Sepia.
industrial mood.
sunlight accents.
deep sunlight.
V
°K
K. Dominant Amber
°
y strong yellow with no red accents.
er
.
09 Pale Amber Gold 009 Pale Amber Gold Deep straw. Good for late afternoon sun
15 Deep Straw 015 Deep Straw Warm golden amber with some green.
* New E-Colour+ Filter Colour 2009
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ARM
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6
sets or fir
Useful for special effects – candlelight, firelight.
elight.
cont...
Lighting the Acting Areas - filters for warm acting areas
SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS
16 Light Amber Excellent area light. Safe for most light
skintones.
316 Gallo Gold Pale reddish gold. Good for sunrise or sunset.
F
lattering naturalistic backlight colour.
5017 Light Flame 17 Light Flame Heavier pink-amber tint. Useful for dance.
Especially useful when balanced with a cool colour.
317 Apricot 147 Apricot A rosy amber which produces a romantic
sunset colour.
134 Golden Amber Glowing Amber. Late afternoon sunlight
t
ransition.
318 Mayan Sun 5318 Mayan Sun 318 Mayun Sun A medium salmon colour which evokes feeling
of a tropical island. A good sunset colour.
5336 Aztec Gold* A burnt amber with a honey-like quality. Soft
sunlight effects to richly dingy interiors.
325 Henna Sky
4615 CC15 Red
4630 CC30 Red Double 4615. Pale red with peach tones. Nice
30 Light Salmon Pink Excellent for general area washes. Gives
153 Pale Salmon Good for flesh tones
109 Light Salmon General wash for warm acting areas,
31 Salmon Pink 107 Light Rose General wash.
166 Pale Red Deep salmon pink warm accents for LE and
331 Shell Pink
107 Light Rose Beautiful blush pink, good on fair skintones.
Toasted red-amber colour, useful as a
d
ramatic cyc.
Very pale red. Subtle warming on skin tones.
Warmer than Sgel 05.
on skin when paired with a cooler cross light.
overall warming effect to skin tones.
A pale pink.
warmer than107.
Good for follow spots.
musicals.
33 No Color Pink
35 Light Pink Slightly deeper than Sgel 33 but with less
36 Medium Pink
336 Billington Pink Similar uses to 337 but deeper saturation.
337 True Pink A cool pink excellent for washes and general
38 Light Rose 110 Middle Rose Bluish pink for general washes and toning.
192 Flesh Pink Good for general washes and cross
“ In A Str
eetcar Named Desire, Tennessee Williams describes the poker scene as having ‘the lurid nocturnal
33 No Color Pink
333 Blush Pink A tint excellent for most skin tones.
34 Flesh Pink Good for musicals: creates a happy
4815 CC15 Pink Excellent on all skin tones.
4830 CC 30 Pink Double 4815. Pretty pink. Slightly less blue
37 Pale Rose Pink Blue pink: use in general washes and
A pale almost colourless pink.
atmosphere.
Slightly cooler than 33.
than 38. Nice for musicals and “happy” lighting.
violet.
lighting.
illumination. A good follow spot colour.
toning.
brilliance’ of Van Gogh’s painting of a billiard-parlor at night. Supergel 11 in a soft down light, Supergel 09
om high backs, and Super
fr
gel 365 with templates helped me paint Van Gogh’s work in light.
WARM FILTERS | 7
”
Kevin Rigdon
Lighting the Acting Areas - filters for cool acting areas
SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS
3318 Tough1/8 Minusgreen Very light magenta correction. Removes
slight green casts from HPL lamps.
2
49 Quarter Minus Green 3314 Tough1/4 Minusgreen Pale magenta correction. Nice tone on skin
without adding colour.
248 Half Minus Green 3313 Tough1/2 Minusgreen Light magenta brightens blues and pinks:
warmer than lavender.
247 Minus Green 3308 Tough Minusgreen Nice pale lavender: good as part of a cool
or warm crosslight.
4
715 CC 15 Magenta Pale magenta, cooler than 3318: useful on
many skintones.
4730 CC 30 Magenta Double 4715: medium cool magenta. Nice
fill without adding colour.
4215 CC 15 Blue Very pale blue tint with a hint of red. Nice
no-colour definition when crossed with 51.
4
230 CC 30 Blue Double 4215. Pale blue with a reddish
cast.
4260 CC 60 Blue Double 4230. Medium blue with red tones.
N
ice cool crosslight on most skin tones.
218 Eighth CT Blue 3216 Eighth Blue Boosts tungsten 3200°K sources
by 200°K.
5211 Ice Blue* A subtle theatrical colour corrector. Perfect to
pull the red edge off of a tungsten source.
373 Theatre Booster 3 203 Quarter CT Blue 3208 Quarter Blue Quarter blue for cooling incandescent lights.
Cool crisp “white light”.
372 Theatre Booster 2 202 Half CT Blue 3204 Half Blue Half blue for cooling incandescent lights
ds daylight. Clean with no r
towar
5202 Max Blue A half blue useful for cooling incandescent
towards daylight. Clean with no red.
371 Theatre Booster 1 201 CT Blue 3202 Full Blue Full blue for cooling incandescent lights to
daylight. Clean with no red.
200 Double CT Blue 3220 Double Blue Double 201, boosts tungsten 3200°K
ces to nor
sour
60 No Color Blue Helps maintain white light are low on
dimmer. Good for cool area light.
360 Clearwater Slightest blue tint. Excellent for eliminating
amber shift when lights are low on dimmer.
61 Mist Blue 061 Mist Blue Excellent for general area washes. Very
light cool tint of blue.
62 Booster Blue Helps maintain white light when dimmer is
at low intensity
63 Pale Blue 063 Pale Blue Good for creating an overcast look and
feeling.
66 Cool Blue 117 Steel Blue A pale green shade of blue; good for area of
general washes. Creates an icy feeling on stage.
363 Aquamarine
361 Hemsley Blue A sharp cold Blue that stays clean when
ipton Blue
362 T
64 Light Steel Blue 174 Dark Steel Blue Useful for beams of realistic moonlight.
A pale blue-gr
area lighting. A soft backlight colour.
dimmed, a good wash colour.
Soft gr
and for shift the amber of lights low on dimmer
th sky daylight.
.
een colour. Can be used for
een blue: good for cool ar
ed.
ea lighting
.
65 Daylight Blue
67 Light Sky Blue
* New E-Colour+ Filter Colour 2009
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364 Blue Bell
196 True Blue Useful for achieving depressed moods and
365 Tharon Delft Blue Clean blue but with more red than 364:
352 Glacier Blue
Clean light red blue. Creates naturalistic
daylight fill colour
dull skies.
good for area light.
Excellent sky colour
border lights.
.
. Useful for cyc and
cont...
Lighting the Acting Areas - filters for cool acting areas
SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS
118 Light Blue Skylight, and cool for accents and acting
areas.
368 Winkler Blue A silvery blue, used for front light and
moonlight.
70 Nile Blue 140 Summer Blue Useful for very light midday skies.
71 Sea Blue 172 Lagoon Blue Occasionally used for general cool tint and
non-realistic washes.
72 Azure blue 144 No Color Blue A clean slightly green blue. Good moonlight
fill.
5376 Bermuda Blue 376 Bermuda Blue Good moonlight, soothing green blue, good
tropical sky.
© Fabio Donato
II PPrroommeessssii SSppoossssii..
“ In this scene of the musical the boat was in constant motion on a r
evolve. I had to
maintain visibility while sustaining the illuson of distance on Lake Como. The sun, a light box which
eventually sets and gives way to a romantic evening, was a combination of 134 and 147 E-Colour+. I love 147
because it doesn’t distort the colours of costumes. Since the show had 26 scenes, I used scrollers for every-
thing front, side and backlighting. The lake is a combination of 132, 141 and the new 5436 E-Colour+ and
the rising fog helped sustain the impression of water. Since I was a painter I am fascinated by colour and
always experiment with new colours in scr
ollers. Even if I don’
t use them, I have to know what they do.
Patrick Latronica
”
COOL FILTERS |
9
Lighting the Acting Areas - filters for neutral acting areas
SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS
3318 Tough1/8 Minusgreen Very light magenta correction. Removes
slight green casts from HPL lamps.
2
49 Quarter Minus Green 3314 Tough1/4 Minusgreen Pale magenta correction. Nice tone on skin
without adding colour.
248 Half Minus Green 3313 Tough1/2 Minusgreen Light magenta brightens blues and pinks:
warmer than lavender.
247 Minus Green 3308 Tough Minusgreen Nice pale lavender: good as part of a cool
or warm crosslight.
3
41 Plum A soft red and muted blue combination for
period sets.
4730 CC 30 Magenta Double 4715. Medium cool magenta.
Nice fill light without adding warmth.
51 Surprise Pink Touch of colour when white light is
undesirable.
3
51 Lavender Mist 003 Lavender Tint Pale, no-colour lavender. Nice cool white
light.
52 Light Lavender 052 Light Lavender Excellent for general area or border light
w
ashes. It is a basic followspot colour.
53 Pale Lavender 053 Pale Lavender Use when a touch of colour is needed.
353 Lilly Lavender 137 Special Lavender Nice cool lavender. Slightly warmer than
Supergel 55.
54 Special Lavender Same as 53, but warmer.
4915 CC 15 Lavender Pale no colour lavender. Slightly cooler than 351.
Tones without adding colour
4930 CC 30 Lavender Double 4915. Excellent cool on skin tones.
Nice warm tones during night-time.
4960 CC 60 Lavender Double 4930. Rich comfortable lavender.
Complements darker skin tones.
55 Lilac 137 Special Lavender Same as 53, but cooler.
355 Pale Violet 142 Pale Violet Cool lavender - acts as a neutral in a three
colour area lighting system.
56 Gypsy Lavender 180 Dark Lavender Highly saturated, good for side and
backlighting a non-realistic effect.
356 Middle Lavender A lavender halfway between 52 and 57 in
hue and value. Useful for side-lighting.
170 Deep Lavender Night scene lighting a hint more pink than
356.
57 Lavender 194 Surprise Pink Gives good visibility without destroying night
illusions.
357 Royal Lavender 180 Dark Lavender A rich lavender which will enhance blue and
red costumes and scenic pieces.
58 Deep Lavender
359 Medium Violet A lavender with a strong blue component,
377 Iris Purple
058 Deep Lavender
156 Chocolate 99 Chocolate Warms light and reduces intensity, good for
184 Cosmetic Peach
185 Cosmetic bur
186 Cosmetic Silver Rose
187 Cosmetic Rouge slightly diffuse pale tints that
188 Cosmetic Highlight complement skin tones
189 Cosmetic Silver Moss or key lighting.
190 Cosmetic Emerald
191 Cosmetic Aqua Blue
5404 Wisteria* Soft, pale lavender. Excellent area wash. Good
gundy
Excellent back light.
Enhances dimensionality.
ideal for backlighting.
Deep Blue with r
atmospher
darker skin tones.
A series of
as an inter
ed accents, dark night-time
e.
y between amber and blue.
mediar
.
* New E-Colour+ Filter Colour 2009
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