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.

”

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

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:

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.

”

Understanding The Spectrum and SED Curves

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.

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

Fig.4

Manufacturing High Temperature Colour Filter

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.

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.

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.

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.

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

TERS

FIL

ARM

| W

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.

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

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

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.

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.

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.

230 CC 30 Blue Double 4215. Pale blue with a reddish

cast.

4260 CC 60 Blue Double 4230. Medium blue with red tones.

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

TERS

| COOL

FIL

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.

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 |

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.

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.

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.

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

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

y between amber and blue.

mediar

* New E-Colour+ Filter Colour 2009

TERS

| NEUTRAL

FIL

Using Sidelights, Downlights & Backlights for Accents - filters for warm accents

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

310 Daffodil A soft medium yellow: can be used for creating

ffects like early morning sunlight.

590 CC 90 Yellow Saturated pure yellow. Enhances greens in

ets and costumes.

10 Medium Yellow 010 Medium Yellow Clean bright yellow. Good for special effects

and accents. Unflattering in acting areas.

100 Spring Yellow Sunlight wash with green component,

unflattering for skin tones.

12 Straw Good for special effects accents. Use with

aution on skin tones.

11 Light Straw 102 Light Amber Warm pale yellow. Useful for fire effects.

Can be used for area lighting.

12 Canar y 01 Yellow Warmer than 10. A bright, vibrant yellow that

evokes “exotic” sunlight. Use with caution on skin.

313 Light Relief Yellow Vibrant warm Yellow, More red than 312

without the green cast.

14 Medium Straw 104 Deep Amber Pale amber, useful for sunlight and firelight

accents.

15 Deep Straw 015 Deep Straw Warm amber, good for special effects, as 14.

Tends to depress colour pigment values.

316 Gallo Gold Pale reddish gold. Good for sunrise or

sunset, flattering backlight colour.

5018 Flame 18 Flame Pinkish amber. Creates afternoon sunset or

sunrise.

318 Mayan Sun

20 Medium Amber 020 Medium Amber Afternoon sunlight, evokes feelings of

5318 Mayan Sun 318 Mayan Sun A medium salmon colour which evokes feelings

of a tropical island. A good sunset colour.

autumn, lamplight and candlelight.

017 Surprise Peach Warm skin tones and mood light.

21 Golden Amber 021 Gold Amber Useful as amber cyc light, late sunsets, and

firelight.

5321 Soft Golden Amber 321 Soft Golden Amber Good autumn colour, good sun transition

colour through white and yellow to amber.

2002 Storaro Orange Flattering firelight.

ovides a r

23 Orange

4815 CC 15 Pink

4830 CC 30 Pink Medium pink makes a nice side light accent.

4860 CC 60 Pink Double 4830. Rich pink accent.

4890 CC 90 Pink

331 Shell Pink

32 Medium Salmon Pink Deepest of the salmon pinks.

y Rose

332 Cher

107 Light Rose

5489 Sunset Pink

4660 CC 60 Red Double 4630. Medium red with pale salmon

4690 CC 90 Red 4660 + 4630. Strong salmon red. Deeper

4760 CC 60 Magenta Double 4730. Strong pink/magenta.

Pr windows for evening effects. A ver

Adds a splash of pink without being too obvious.

Excellent in follow-spots. 4830 + 4860. Deep rich pink. Lighter than

332. Romantic backlight or accent colour. Beautiful blush pink, good on fair skin tones.

A tr concer

accents. Romantic subtle back or side lighting.

and mor

Interesting side light with slight bluish cast.

omantic sunlight through

y pale pink.

opical pink that is good for musicals or

t lighting. A good back light colour

e orange than 32. Beautiful backlight.

cont...

WARM ACCENT FILTERS |

Using Sidelights, Downlights & Backlights for Accents - filters for warm accents

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

339 Broadway Pink 128 Bright Pink A deep, saturated pink created for musicals and

“

specials”. Excellent for down and backlighting.

39 Skelton Exotic Sangria A sultry, deep purple. Good for musicals or

concert lighting. Excellent special effects colour.

40 Light Salmon 008 Dark Salmon Similar uses to 23 but a bluer colour.

344 Follies Pink Vibrant, almost fluorescent pink with a cool component.

pecial effects colour in Broadway musicals.

47 Light Rose Purple 345 Fuchsia Pink Good for eerie or dramatic effects.

Beautiful backlight colour.

47 Belladonna Rose Saturated deep Magenta with hint of purple.

Good effects filter for dance.

48 Rose Purple Pale evening colour. Excellent for backlight.

348 Purple Jazz 345 Fuchsia Pink A dusky Purple. Good for simulating purple

neon or old night club atmosphere.

49 Medium Purple 126 Mauve Darkest of the magenta purple range.

349 Fisher Fuchsia A medium fuchsia good for special effects.

An interesting backlight or accent colour.

50 Mauve 127 Smokey Pink Subdued sunset effect. Useful in backlights.

To create seedy atmosphere.

358 Rose Indigo A warm, red purple good for accents,

specials, and backlight.

5084 Damson Violet*

5085 French Lilac* An intense, warm lilac for romantic and non

96 Lime To simulate “unnatural” sunlight before and

A deep rosy violet. A chameleon-like colour varying from warm to cool.

realistic accents.

after a rainstorm or tornado.

“ Colour brings life, textur

e and vibrancy to the stage

design for the Broadway revival of Showboat illustrates this vividly.

* New E-Colour+ Filter Colour 2009

ARM ACCENT FIL

| W

TERS

” - the A

Richar

ward winning

d Pilbrow

“ In this production of Richard III, the court of King Edward stands above

Richard, backlit fr

om below with Super

gel 11 Light Straw

. The cour

t is

silhouetted against a fiery, bloody sky, created using a mixture of Supergel 21

Golden Amber and Supergel 24 Scarlet. ”

Donald Holder

Using Sidelights, Downlights & Backlights for Accents - filters for cool accents

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

247 Minus Green 3308 Tough Minusgreen Cool pale lavender for beautiful, subtle

backlighting.

4930 CC 30 Lavender Double 4915. Clean medium lavender.

Soft accent lighting.

5499 Hyacinth 4990 CC 90 Lavender 4960 + 4930. Dynamic, lush backlight.

More red than 357.

5426 Blueberry Blue 4260 CC 60 Blue Double 4230. Good for accents and back

lighting, especially dance. Slightly red.

367 Slate Blue 161 Slate Blue Clean medium blue. Good for sky colour or

moonlight.

5287 Fuji Blue* A neutral medium blue. A nice intermediate hue

for transition from afternoon into evening light.

68 Parry Sky Blue 068 Sky Blue Excellent for early morning sky tones.

Popular among designers for cyc and borders.

69 Brilliant Blue 183 Moonlight Blue Used for dramatic moonlight effects.

73 Peacock blue 354 Special Steel Blue Good for fantasy, moonlight and water

effects.

74 Night Blue 363 Special Medium Blue Popular as a backlight or sidelight in contrast

to area light.

5376 Bermuda Blue 376 Bermuda Blue Good moonlight, soothing green blue, good

tropical sky. More blue than 76.

77 Green Blue Useful for romantic moonlight.

2007 Storaro Blue Rich deep indigo blue, slightly redder than

81. y blue. For use with three colour light

80 Primary Blue 119 Dark Blue

81 Urban Blue 075 Evening Blue Very cold brittle feeling.

82 Surprise Blue Deep rich blue with slight amount of red.

382 Congo Blue 181 Congo Blue The most saturated blue. Good for dark night skies.

84 Zephyr Blue Lovely contrast to pale blues; adds coldness

85 Deep Blue

385 Royal Blue A very low transmission deeply saturated blue

76 Light Gr

86 Pea Green 121 Leaf Green Good for dense foliage and woodland

89 Moss Green 122 Fern Green Useful for mood, mystery and toning.

389 Chroma Green A brilliant cyc lighting colour, good for

395 Teal Green 325 Mallard Green Good as a mystical special effects colour.

een Blue Distinctive greenish blue.

085 Deeper Blue Deeply saturated blue with a hint of red.

Primar primary system in cyc lighting.

eat colour for r

to shadows.

that shifts towards purple when dimmed.

effects.

oma-keying ef

chr

Interesting side or backlight colour in concert lighting.

ock and roll concert lighting.

fects in television pr

oduction.

GGllii OOlliimmppiiaaddii

ops and set pieces, a volleyball net, bicycle etc. to suggest a moder

“ This Pergolesi opera was given an abstract setting with only the presence of specific

n gymnasium. Since none of the electric pipes were masked and many of them moved I treated the lights as gym apparatus. I based the lighting on the cold, detached but sensual television commercials that I had seen in India with a lot of

een is a colour that I love and try to use in almost every production. In this scene the set

een. Gr

gr becomes a prison with an ominous shadow on the large net. The visible low side-lighting is a mixture of 213 and 245, corrections and cosmetic colors 190 and 191 were used for the back-lighting. The cyc was 219 and 174. The fr 17th century costumes and maintained the formalism of the rest of the lighting.

ont light was open white and 187, cosmetic rouge which did not distort the

”

Patrick Latronica

COOL ACCENT FILTERS |

Simulating Natural Light - filters to re-create sunlight

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

01 Light Bastard Amber 176 Loving Amber Enhances fair skin tones. Suggests strong

sunlight.

303 Warm Peach 109 Light Salmon Strong Amber with undertones of pink.

Useful for warm sunrise and sunsets.

04 Medium Bastard Amber 004 Medium Bastard Amber Especially useful when cross lit with a cool

colour. Excellent for natural sunlight.

285 Three Quarter Orange 3411 Roscosun 3/4 CTO Rich amber, good for strong morning

sunlight.

4530 CC 30 Yellow Double 4515. Medium yellow with green tone.

Bright sunlight accents. Not flattering on skin.

4560 CC 60 Yellow Double 4530. Strong yellow with green tone.

Deep sunlight rays.

4590 CC 90 Yellow 4530 + 4560. Very strong sunlight with no

red accents.

09 Pale Amber Gold 009 Pale Amber Gold Deep straw.

Good for late afternoon sunsets.

10 Medium Yellow 010 Medium Yellow Yellow with green. Good for special effects.

Unflattering in acting areas.

310 Daffodil A soft medium yellow. Can be used for

creating early morning sunlight.

11 Light Straw 102 Light Amber Pale yellow with slight red content. Useful for

candle effects. Can be used for area lighting.

12 Straw Greener yellow than 10. Special effects and

accents. Use with caution on skin tones.

2003 Storaro Yellow Deep yellow with amber tones. Strong late

day sunlight, flattering on skin.

103 Straw Flatters flesh tones, warm winter effect and

area lighting.

13 Straw Tint 013 Straw Tint Much less green than in other straws. Warm sunlight

glow when contrasted with ambers and blues.

313 Light Relief Yellow Vibrant warm yellow. More red than 312

without the green cast.

14 Medium Straw 104 Deep Amber Pale amber, higher red content than 312.

Sunlight, accents, caution to skin tones.

osy amber. Produces romantic sunlight

317 Apricot

316 Gallo Gold Pale reddish gold, good for sunrise and

18 Flame

5018 Flame Warm pinkish amber. Afternoon sunset.

318 Mayan Sun

20 Medium Amber 020 Medium Amber Afternoon sunlight. Lamplight and candlelight.

21 Golden Amber 021 Gold Amber Useful for amber cyc light and late sunsets.

5318 Mayan Sun

318 Mayun Sun

A r effects. Useful as sidelight or back light colour.

sunset. A flattering backlight colour

m pinkish amber. Afternoon sunset, a

W good sidelight.

Good sidelight. A medium salmon colour which evokes feelings

opical island. A good sunset colour

of a tr

Tends to depress colour pigment values.

5321 Soft Golden Amber

23 Orange 158 Deep Orange Provides a romantic sunlight through

25 Orange Red 025 Sunrise Red Good for firelight or special effects.

TERS

| RE-CREA

TE SUNLIGHT

FIL

321 Soft Golder Amber Amber with some green content. A good sunlight

transition colour for progression to amber.

2002 Storaro Orange Rich amber with pink tones. Afternoon

sunlight into sunset.

windows for evening ef

325 Henna Sky Toasted red amber colour. Useful in creating

setting sun or as a dramatic cyc.

fects.

cont...

Simulating Natural Light - filters to re-create sunlight

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

4630 CC 30 Red Double 4615. Warm sunlight at dusk.

331 Shell Pink 107 Light Rose Beautiful blush pink, good on fair skin tones.

332 Cherry Rose 148 Bright Rose A tropical pink that is good for musicals or

concert lighting. A good backlight colour.

337 True Pink 039 Pink Carnation A component of early morning sunrise.

96 Lime To simulate “unnatural” sunlight before and

after a rainstorm or tornado.

e’s a hot morning on Catfish Row. I wanted the lighting to almost make you see the sweat! I used

“ Her

gel 23 and 00 clear on the cyc; it mixed well with the colours used in painting the dr

Super

op. The

backlight is E-Colour+ 5017, used here on 5K fresnels, for directional colour on a large wash. Area lights

were Supergel 60.

”

Ken Billington

RE-CREATE SUNLIGHT FILTERS |

Simulating Natural Light - filters to re-create skylight

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

4730 CC 30 Magenta Double 4715. Medium pink. Adds colour

o sunset skies.

4760 CC 60 Magenta Double 4730. Excellent for use in night-time

settings. Mystical moonlight.

57 Lavender 194 Surprise Pink Excellent backlight. Gives good visibility

without destroying night illusions.

58 Deep Lavender 058 Lavender Enhances dimensionality.

5423 Barely Blue 4230 CC 30 Blue Double 4215. Interesting industrial sky.

Overcast, slightly grey daylight.

00 Double CT Blue 3220 Daffodil Blue Bright night-time area light. Crisp moonlight.

361 Hemsley Blue A sharp cold blue that stays clean when

immed.

64 Light Steel Blue 174 Dark Steel Blue Useful for beams of realistic moonlight.

365 Tharon Delft Blue Clean blue with some red, good for area

lighting.

65 Daylight Blue 196 True Blue Useful for achieving depressed mood and

dull skies.

366 Jordon Blue A crisp light blue with a hint of green.

Flattering on dark skin tones.

67 Light Sky Blue 165 Daylight Blue Excellent sky colour.

Useful for cyc and border

68 Parry Sky Blue 068 Sky Blue Excellent for early morning sky tones.

Popular among designers for cyc and borders.

368 Winkler Blue A silvery blue, used for front light and moonlight.

69 Brilliant Blue 183 Moonlight Blue Used for dramatic moonlight effects.

70 Nile Blue Used for very light midday skies.

Occasionally used for general cool tint.

370 Italian Blue 131 Marine Blue Good to create eerie and mysterious effects.

Good for night-time water effects.

71 Sea Blue 172 Lagoon Blue Occasionally used for cool tints and

non-realistic area lighting.

72 Azure Blue 144 No Colour Blue A clean slightly green blue. Good moonlight

fill.

5264 Venetian Blue* A pale steel blue useful in cool washes.

Create subtle shadows or hazy blue skies.

5211 Ice Blue*

5431 White Cap 4315 CC 15 Cyan Very pale blue green. Interesting industrial

5433 Surf Blue 4330 CC 30 Cyan Double 4315. Slightly greener than

5436 Capri Blue 4360 CC 60 Cyan Double 4330. Strong eerie daylight.

73 Peacock Blue 115 Peacock Blue Good for fantasy, moonlight and water

74 Night Blue

udy blue

78 T

363 Special Medium Blue Fantasy moonlight. Crisp and beautiful.

5376 Bermuda Blue 379 Bermuda Blue Good moonlight, soothing green blue, good

366 Cor

5378 Twilight Blue 378 Alice Blue Moody, cloudy blue with lavender undertones.

nflower A rich clean red blue that warms to lavender

A subtle theatrical colour cor pull the red edge off of a tungsten source.

daytime skies. Use with caution on skin tones.

mal” daylight. Uncomfor

“nor

Simulates fluorescent and industrial light sources.

fects.

tropical sky.

when dimmed.

Urban night skies and ominous, mystical moonlight.

rector. Perfect to

table skylight.

* New E-Colour+ Filter Colour 2009

| RE-CREA

TE SKYLIGHT

FIL

cont...

TERS

Simulating Natural Light - filters to re-create skylight

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

81 Urban Blue 075 Evening Blue Very cold brittle feeling.

381 Baldassari Blue A great “dark steel” on triple daylight.

2 Surprise Blue Deep rich blue with slight amount of red.

383 Sapphire blue 120 Deep Blue A deep romantic blue on the red side.

84 Zephyr Blue A true blue with excellent punch or bright

skies.

85 Royal Blue Excellent for non-realistic backgrounds, but

very low transmission.

“ It’s evening on Catfish Row and I wanted a clear, clean light, but one that said ‘night’ and illuminated the

gamblers. I used Supergel 83 to make the people and the scenery pop. It mixes well with the other colors I

used, including Supergel 33 (at 75%) for that warm, sunset glow and Supergel 372 in the area lights on

the faces.

”

Ken Billington

RE-CREATE SKYLIGHT FILTERS |

Simulating Natural Light - filters to re-create cyc/sky

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

02 Rose Pink A good colour for side-lighting, or as a

component of a cyc sunrise.

21 Golden Amber 021 Gold Amber Useful as amber cyc light and late sunsets.

22 Deep Amber 022 Dark Amber Very useful as a backlight. Dramatic specials

and firelight.

26 Light Red 026 Bright Red Vibrant red. Good alternative primary.

27 Medium Red 027 Medium Red Good red primary for use with three-colour

light primary systems in cyclorama lighting.

359 Medium Violet Midnight and moonlight illusions. Good for

evening cyc wash accents, good in backgrounds.

357 Royal Lavender 343 Special Medium Lavender Excellent for night-time scenes. Rich and

vivid saturated lavender.

2008 Storaro Indigo Cold blue cyc colour with strong lavender

cast.

5429 Lapis Blue 4290 CC 90 Blue 4260 + 4230. Deep red blue. Enhances deep

blues in costumes and scenery. Vibrant backlight.

361 Hemsley Blue A sharp cold blue that stays clean when

dimmed.

377 Iris Purple Deep Blue with red accents. Dark night-time

atmosphere.

64 Light Steel Blue 174 Dark Steel Blue Useful for beams of realistic moonlight.

65 Daylight Blue

366 Jordan Blue A crisp light Blue with hint of green.

67 Light Steel blue 352 Glacier Blue Excellent sky colour. Useful for cyc and

367 Slate Blue 161 Slate Blue Clean medium blue. Good for sky colour or

68 Parry Sky Blue 068 Sky Blue Excellent for early morning sky tones.

inkler Blue

368 W

69 Brilliant Blue

369 Tahitian Blue 118 Light Blue Medium bright blue with some green. Cool

73 Peacock Blue 115 Peacock Blue Good for fantasy, moonlight and water

374 Sea Green 115 Peacock Blue Teal Blue-Green. Great for enhancing water scenes

75 Twilight Blue Rich Blue with slight green accent.

76 Light Green Blue Distinctive greenish blue. Useful for

196 True Blue Useful for achieving depressed moods and dull

skies.

Flattering on skin tones.

border.

moonlight.

143 Pale Navy Blue Romantic moonlight and cool “specials”.

Popular among designers for cyc and borders.

y blue, used for front light and

A silver moonlight.

183 Moonlight Blue

375 Cer

5376 Ber

5077 Green Blue 77 Green Blue Deep rich blue moonlight. Won’t shift red when

muda Blue

376 Ber

2007 Storaro Blue Deep blue, fantasy moonlight or cyc colour.

ulean Blue A crisp clean blue-green. Useful as a water

muda Blue

Useful for dramatic moonlight ef

water effects colour.

fects.

or deep sea environments. Greener than S73.

Dramatic, mystical night-times.

effect or a sidelight for dance.

omantic moonlight.

r Good moonlight, soothing green blue, good tropical sky.

taken down on dimmer. Nice for colour mixing.

fects.

| RE-CREA

TE CYC/SKY

FIL

cont...

TERS

Simulating Natural Light - filters to re-create cyc/sky

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

80 Primary Blue 119 Dark Blue Primary blue. For use with three colour light

primary system in cyc lighting.

5207 Lyric Blue Deep blue, fantasy moonlight or cyc colour.

81 Urban Blue 075 Evening Blue Very cold, hard, brittle feeling.

382 Congo Blue 181 Congo Blue The most saturated blue. Good for dark night skies.

Great colour for rock and roll concert lighting.

85 Royal Blue Excellent for non-realistic backgrounds, but

very low transmission.

89 Moss Green 122 Fern Green Useful for mood and mystery lighting and

fficient cyc component.

124 Dark Green Useful for backlighting and a darker green

cyc component.

“ Shabatai, an original rock musical in New York shimmered in a world of mysticism and divinity. Low

scrollers on ACL’s gave broad walls of deeply coloured light in glossy blues and intense lavenders. The gel

strings included Supergel 74, 56 and 70 which painted the actors and costumes with deep, rich bases against

which the crisp practicals and keylights set of

f their faces and hands.

”

David Taylor.

RE-CREATE CYC/SKY FILTERS |

Filters for Special Effects

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

00 Clear 130 Clear 00 Clear A durable, heat resistant polycarbonate film (00)

used in the preparation of colour scrollers.

10 Medium Yellow 010 Medium Yellow Yellow with green. Good for special effects.

Unflattering in acting areas.

11 Light Straw 102 Light Amber Pale yellow with slight red content. Useful for

candle effects. Can be used for area lighting.

2003 Storaro Yellow Rich saturated yellow/amber: good for

culpting and defining shapes.

13 Straw Tint 013 Straw Tint Suggests warm glow of candlelight, sunset

or interior lighting.

9 Fire 019 Fire Strong red amber. Excellent for fire effects.

21 Golden Amber 021 Gold Amber Useful as amber cyc light and late sunsets.

22 Deep Amber 135 Deep Golden Amber or Very useful as a backlight.

022 Dark Amber Dramatic specials.

24 Scarlet 024 Scarlet Very deep amber. Red with a touch of blue.

324 Gypsy Red 024 Scarlet Pretty soft red. Flattering orange-red effects

colour.

25 Orange Red 025 Sunset Red Use when red with higher yellow content is

needed.

4690 CC 90 Red 4660 + 4630. Excellent for fire effects.

26 Light Red 026 Bright Red Vibrant, red. Good alternate primary.

27 Medium Red 027 Medium Red Good red primary for use with three-colour

light primar

5201 New Schubert Pink 4790 CC 90 Magenta 4760 + 4730. Good choice for CYM

colour mixing created for colour spots.

39 Skelton Exotic Sangria A sultry, deep purple. Good for musicals or

concert lighting. Excellent special effects colour.

339 Broadway Pink 128 Bright Pink A deep, saturated pink created for musicals

and “specials”. Excellent for backlighting.

5041 Salmon

5042 Deep Salmon 42 Deep Salmon More red than 342.

342 Rose Pink 332 Special Rose Pink Extremely intense, hot pink. Produces strong

43 Deep Pink 328 Follies Pink Rich, hot pink. “Electric” in effect with rich

343 Neon Pink A bright, dark pink excellent for musicals or

344 Follies Pink

45 Rose

113 Magenta Intense pink, with hint of blue – strong

46 Magenta 046 Dark Magenta Similar uses as 45 where more saturation is

148 Bright Rose Strong wash for dance and musicals, strong

346 Tropical Magenta Deep saturated magenta. Good for concert

347 Belladonna Rose

41 Salmon Light orange with high blue content.

washes of colour for concer

saturation.

rock and roll concert lighting. Vibrant, almost fluorescent pink with a cool component. Special effects colour in Broadway musicals. Use of scener Adds tone and modelling to scenery.

washes for concer

needed.

hot pink.

lighting and wher Saturated deep Magenta with hint of purple. Good effects filter for dance.

y systems in cyclorama.

t and dance.

y and backgr

t and dance.

ever str

ound effects.

ong colour is desir

ed.

| SPECIAL EFFECTS

FIL

cont...

TERS

Filters for Special Effects

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

48 Rose Purple Pale evening colour. Excellent for backlight.

348 Purple Jazz 345 Fuchsia Pink A dusky Purple. Good for simulating purple

neon or old night club atmosphere.

49 Medium Purple 126 Mauve Darkest of magenta purple range.

49 Fisher Fuchsia A medium fuchsia good for special effects.

An interesting backlight or accent colour.

4990 CC 90 Lavender 4960 + 4930. Dynamic, lush accents.

Creates rich deep colour effects.

358 Rose Indigo Warm, saturated red purple which recalls the

“Jazz Age” and for “blues” and musicals.

5209 Dewberry 2009 Storaro Violet Deep reddish purple. Good as a saturated

special accent.

2008 Storaro Indigo Deep icy blue with violet undertones.

Moonlight illusions

59 Indigo 5059 Indigo 59 Indigo A highly saturated purple-blue – the original

Congo Blue.

359 Medium Violet Good for midnight and moonlight illusions.

Useful for evening cyc wash.

377 Iris Purple Deep Blue with red accents.

Dark night-time atmosphere.

361 Hemsley Blue

071 Tokyo Blue Cyc work, deep hue with a hint of green.

A sharp cold blue that stays clean when dimmed.

368 Winker Blue A silvery blue, used for front light and

moonlight.

370 Italian Blue

374 Sea Green 115 Peacock Blue Teal blue-green. Great for enhancing water scenes

76 Light Green blue Distinctive greenish blue. Useful for romantic

79 Bright Blue

80 Primar

83 Medium Blue Good for non-realistic night skies.

y Blue 132 Medium blue Primary blue. For use with three colour light

131 Marine Blue Good to create eerie, mysterious effects.

4330 CC 30 Cyan Double 4315. Excellent as light r

Slight green is useful for neutralizing red in blue tones.

4360 CC 60 Cyan Double 4330. Greenish daylight. Good for

simulating the glow of television screens.

5439 Riviera Blue 4390 CC 90 Cyan 4360 + 4330. Strong cyan.

Fantasy water scenes.

or deep sea environments. Greener than S73. Distinctive gr effect or sidelight for dance.

moonlight. Rich blue, good for cr night-time lighting, film-noir moonlight.

complementary colour red.

primary system in cyc lighting.

77 Gr

ulean Blue

een Blue

375 Cer

5077 Gr

5205 Turquoise 92 Turquoise Will produce an “after image” of its

een Blue

079 Just Blue Cool clear bright blue.

eenish blue. Useful as a water

eflected off water.

eating “fictional”

e r

ed, low

ed.

198 Palace Blue

384 Midnight Blue 120 Deep Blue Clean intense Red-Blue. Deeper than

86 Pea Green 088 Lime Green Good for dense foliage and woodland

Romantic evening with hint of r transmission.

Sgel 83 with a little mor

fects.

SPECIAL EFFECTS FILTERS |

cont...

Filters for Special Effects

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

386 Leaf Green 87 Pale Yellow Green Sunny spring mornings.

4490 CC 90 Green 4460 + 4430. Bright saturated clean

green.

4460 CC 60 Green Clean green, rich foliage and woodlands.

4430 CC 30 Green Double 4415. Golden green wash. Good

or exterior landscaping.

4415 CC 15 Green Pale balanced green without yellow tones.

317 Tough 1/8 Plusgreen Very pale green correction, neutralises

magenta.

88 Light Green Very pale green, good combined with 89 for

eaf breakups.

246 Quarter Plus Green 3316 Tough 1/4 Plusgreen Pale green correction. Helps incandescent sources

simulate the green cast of fluorescent lamps.

245 Half Plus Green 3315 Tough 1/2Plusgreen Pale green correction. Unnatural sunlight.

Bright and uncomfortable.

244 Plus Green 3304 Tough Plusgreen Correction to balance daylight sources with

fluorescents. Sickly on skin tones.

388 Gaslight Green 138 Pale Green A yellow-green to reproduce colour of gas lighting.

Good for period pieces, e.g. La Boheme.

5455 Tarragon* A true pale green neither too blue nor

yellow. Useful for foliage shadows in gobos.

89 Moss Green

089 Moss Green Useful for mood, mystery and toning.

389 Chroma Green A brilliant cyc lighting colour, good for

chroma-keying effects in television production.

2004 Storaro Green Strong dominant green, less yellow than 90.

“Christmas tree” green.

90 Dark Yellow Green 090 Dark Yellow Green Alternative primary where higher transmission

is desired.

91 Primary Green Primary green for three colour primary

system.

92 Turquoise Good for creating a mood of mystery and

toning scenery spattered in blues.

392 Pacific Green Nice medium blue green. Pretty aquamarine

on HMI and discharge sources.

5461 Grotto Green* An exotic turquoise green. A great modelling

colour in musical performances or dance.

5454 Olympia Gr

93 Blue Green 322 Soft Green A strong cyan, lighter than 95. Beautiful when

393 Emerald Green 323 Jade Perfect Rich Green without yellow or blue

94 Kelly Green Fantasy and unrealistic effects. Unflattering

5077 Green Blue 77 Green Blue Striking with complementary pinks as a

5463 Pr

95 Medium Blue Green 116 Medium Blue Green Used on foliage in moonlight areas of for creating

395 Teal Green 325 Mallard Green Good as a mystical special effects colour.

us sian Gree n* A rich blue-green useful for pantomimes and

209 .3 Neutral Density 97 Light Grey Neutral grey to reduce intensity without

een*

397 Pale Gr

A strong green-blue. Good for water effects or to create a mysterious, spooky atmosphere.

contrasted with lavenders and purples.

tones. Flattering and pr

under

on skin tones.

modelling colour

melodramas. Wonderful contrast to golden ambers.

a mood of mystery. Good for toning scenery.

Interesting side or backlight colour in concert lighting. The lightest gr colour change.

colour change.

ey to reduce intensity without

etty.

* New E-Colour+ Filter Colour 2009

| SPECIAL EFFECTS FIL

cont...

TERS

Filters for Special Effects

SUPERGEL E-COLOUR+ ROSCOLUX APPLICATIONS

398 Neutral Grey 98 Medium Grey The densest of the neutral greys with no

colour change.

56 Chocolate 99 Chocolate Warms light and reduces intensity.

207 CTO + .3ND 3405 Roscosun 85N.3 Light chocalate, reducing intensity.

208 CTO + .6ND 3406 Roscosun 85N.6 A darker still chocolate.

Supergel Diffusion

SUPERGEL APPLICATIONS

100 Frost Medium diffusion, a matte frost effect. 101 Light Frost Similar to above, but lighter diffusion and lower

light loss.

104 Tough Silk Spreads the light in one direction only and can be

rotated in the colour frame to shape the beam.

160 Light Tough Silk Retains the spreading quality of 104, but with less

light loss.

113 Matte Tough Silk Combines the frost effect of 100 and 104 in one

filter.

114 Hamburg Fr

119 Light Hamburg Frost A lighter version of 114, higher transmission and

132 Quarter Hamburg Frost This holds focus while fractionally softening the

140 Subtle Hamburg Frost Light edge-softening high transmission diffusion.

120 Red Diffusion A family of 3 diffusers that combine 121 Blue Diffusion 100 Frost with primaries 26, 79 and 90 122 Green Diffusion respectively. 124 Red Cyc Silk A family of four diffusers that combine a primary 125 Blue Cyce Silk and an Amber 21 and 104 Tough Silk. They 126 Green Cyc Silk permit orientation in cycs to reduce scalloping 127 Amber Cyc Silk

ost A very slight diffusion with high transmission. Ideal

for softening hard edged spots, minimising edge colour fringing and eliminating a centre hotspot.

less effect on the edge.

beam with the mearest hint of diffusion.

Between S119 and 132 in density.

fect on a high cyc and impr

ef 4 circuit cyclight.

ove coverage on a

The Supergel Diffusion

Undiffused Beam Pattern.

100 Frost - Medium Diffusion.

101 Light Frost - lighter than 100.

104 Tough Silk - spreads the light.

s lighting design shows Super

aylor’

David T

fog to define light. The Hambur

standard for improving luminaire beam quality and controlling edge definition.

fusion in use. Seen her

gel Dif

ost series of 114, 119 and 132 have become the industr

g Fr

e in conjunction with Rosco

range breaks new creative

ground for designers: it

qualifies light from luminaires,

in combination with

Supergel colours or alone.

There is no colour shift from

any of the diffusers, and they

are all Flame Retardant.

SUPERGEL DIFFUSION |

Permacolor™Dichroics and How They Work

MAGENTA

LIGHT

DICHROIC MAGENTA FILTER

REFLECTS GREEN LIGHT

WHITE LIGHT (RGB)

MAGENTA

LIGHT

TRADITIONAL MAGENTA FILTER

ABSORBS GREEN LIGHT

WHITE LIGHT (RGB)

MAGENTA

LIGHT

TRADITIONAL MAGENTA FILTER

ABSORBS GREEN LIGHT

WHITE LIGHT (RGB)

In a conventional colour filter, white light is passed through the medium, which absorbs certain wavelengths of light, filtering them out of the composite white light. The rest of the spectrum passes through the filter, thus creating the desired colour.

A dichroic colour filter works differently. Instead of absorbing the unwanted portions of the spectrum, dichroic filters reflect them, acting as a very specialized mirror, but still passing the appropriate coloured light.

The technology behind dichroic filters was developed well over a hundred years ago. Using vacuum deposition, thin layers of transparent dielectric materials (typically titanium dioxide and silicon d

ioxide) are deposited onto a low expansion glass substrate (typically borosilicate). As light crosses the boundary from one layer of one of these materials to another, a little bit of light is reflected. Dichroic filters are made of many layers – a green filter can have more than 50 – so there is a lot of light reflected back and forth between the boundaries of the layers, which sets up patterns of constructive and destructive i

nterference. That is, if light of a particular wavelength is reflected back over itself so that the peaks of the waves line up with the troughs, the waves cancel each other. On the other hand, if the peaks line up with the peaks, the waves reinforce each other. By carefully designing combinations of dif

ferent thicknesses of layers and thus manipulating the path lengths that the internally reflected light must travel, it is possible to create a filter that lets certain portions of the spectrum pass through and that r

eflects other par

ts of the spectrum.

Dichroic filters offer several benefits over plastic filters. Most obviously, a dichroic filter can withstand continuous exposure to high temperature lighting instruments without fading or degrading. Borosilicate glass is rated for peak temperatures as high as 450° C. The coating itself can w

ithstand continuous temperatures as high 225° C.

An additional benefit of filters that use selective reflection of specific wavelengths of light is very pure and saturated colours. A dichroic filter in a deep saturated blue may transmit as much as 40% more blue light than an absorptive filter of a comparable colour. This increased output may mean fewer luminaires are required in certain situations.

ichroic filters offer lighting designers an excellent solution to many design problems. They offer higher colour transmission, can withstand extremely high temperatures and can preserve the integrity of a design over a long run with little maintenance. However, they require more planning during the specification process. Using the resources of both the luminaire manufacturer and the filter suppliers, these minor hurdles c

an be overcome and the full benefits of this filter technology can be

realized.

MAGENTA COLOUR FILTERS

The effect of a dichroic filter is highly dependent on the angle at which the light strikes the filter. One result of this multi-layer filtering method is that the filtering action is dependent on the length of the path the light takes through the filter. If the light strikes the filter straight on, which is the way most dichroic filters are designed to be used, the light that passes through is the intended colour. However, if the light strikes the filter at an angle, the path length is changed, and the colour of the light transmitted is different. Light passing through the filter greater than 20° off normal incidence will be shifted away from the desired colour noticeably. This produces a coloured fringe or halo

at the edge of the beam when used on lights with a beam spr

greater than 40°. The wider the spread, the more obvious this

colour shift. While not possible in all instr

uments, the solution is

to filter the light while the rays are essentially parallel,

before they pass through any type of spread lens. In the

case of an ellipsoidal reflection spotlight, this can be

accomplished by placing the filter in the

gate of the instr

ument. In a P

interchangeable lenses, the filter

should be located inside of the

spread lens. Instruments

using r

a wide spread are not

appropriate for use with

dichroic filters unless a

rainbow ef

ead

AR with

eflectors to cr

fect is desir

eate

ed.

Fig.1

Fig.2

In Fig.1, a conventional glass or plastic filter absorbs the green light, allowing the r

Fig.2 shows how a dichr absorbing it while transmitting the r

ed and blue (magenta) light to pass thr

oic filter r

eflects the green light rather than

ed and blue light.

ough.

| PERMACOLOR DICHROIC

Permacolor™Dichroics Filters

Dichroic filters are durable glass colour filters

that transmit only certain wavelengths of light,

Gallegos Lighting added magic to this Legoland theme park with Permacolor dichroics.

Photo by Gallegos Lighting.

reflecting the rest of the

absorbing it. Since virtually no energy

spectrum, rather than

absorbed by the filter, light transmission is

significantly higher than traditional plastic gels

and will never burn out or fade.

Rosco Permacolor™filters are made with the

highest quality coatings, designed not to fade or

shift colour. In addition, Rosco’s sophisticated

manufacturing process allows for precise colour

consistency batch to batch to a degree that is

unprecedented in other dichroic coatings.

USING DICHROIC FILTERS

Given these unique characteristics, the specification and installation of dichr

• Ensure that the lighting instrument in question does not have a beam spread wider than 40° or colour fringing may result.

Determine whether the maximum temperature of the lighting instrument exceeds the rating on the coating or the glass. Does the

• instrument create hot spots

• How will the filter install in the luminaire

chitectural lights do not. If the luminair

many avoid fringing replace the safety glass.

• Install the filter with the coated side towards the lamp. Since dichroic coatings reflect unwanted wavelengths, the only energy that actually passes through the glass is the desired portion of the spectrum. Therefore very little energy is absorbed as heat. However, if the filter is installed with the coated side away fr the unwanted energy is reflected back. The glass then absorbs a great deal of heat energy, since light is actually passing through the glass twice.

• While dichroic filters can be used in wet environments, the coatings are porous and will absorb moisture. When this occurs, the film swells and causes a colour shift. As the coating heats up and the moisture evaporates out of the coating, the film will shrink back down to the correct thickness and the colour will shift back accordingly.

? Is there a layer of safety glass installed by the luminaire manufacturer? Dichroic filters should never be used to

? Borosilicate glass has excellent thermal properties, but is rated for maximum hot spotting of 90° C/sq. cm.

? While traditional the atrical instruments have built-in accommodations for colour filters,

e has a wide beam spread, can the filter be installed before the spread lens to

om the lamp, the entir

oic filters r

equires some special care and attention.

e light output of the lamp must pass thr

ough the glass befor

• Glass breaks. Ensure that the application and installation take safety into consideration.

PERMACOLOR DICHROIC |

Permacolor™Dichroics Filters

Sample kits Rosco Permacolor dichroic filters. Available from Rosco.

PERMACOLOR SUPERGEL E-COLOUR+ ROSCOLUX

31002 Bastard Amber 154 31018 Amber Blush 4630 43409 1/4CTO 3409 43408 1/2CTO 3408 43407 CTO 3102 31012 Bright Straw 2003 31013 Goldenrod 441 35200 Yellow 104 3

5401 Amber 015 35600 Med Orange 158 35900 Orange 135 36100 Flame Red 026 36500 Primary Red 27 31033 Light Pink 3318 3

1337 Pale Pink 336 34758 Medium Pink 44 34630 Hot Pink 39 34763 Deep Magenta 346 34640 Vivid Magenta 349 34965 Lavendar 2009 31048 Purple Fusion 58 31054 Lavender Accent 55 31055 Lilac 202 31062 Booster Blue 31065 Mediterranean Blue 69 43208 1/4 CTB 43204 1/2 CTB 203 43202 CTB 201 35700 Sea Blue 354 35590 Cyan 118 35400 Sky Blue 141

quoise

ellow Gr

een

35100 Lt Blue Gr 31080 Primary Blue 80 34600 Med Red Blue 385 34200 Deep Purple 181 33650 Woods Glass 31073 Peacock Blue 4390 34853 T 31086 Industrial Green 121 34959 Lt Y 35156 Fern Green 389 35055 Primary Green 124 43026 White Diffusion 3027 38000 IR/UV Filter 34000 UV Blocker

363

218

089

Simply By Others chose Permacolor dichroics for this permanent installation

at Strike Long Island, with Rosco gobos for the added stunning effects.

Photo by Simply By Others. Owner

| PERMACOLOR DICHROIC

, Strike Holdings LLC.

macolor swatchbook, pr

The Per Permacolor standard and architectural series, is available free from any Rosco office.

oviding Roscolux matches to the

Permacolor™Dichroics Filters - Specialized Filters

CORRECTION FILTERS

Cinedichro™Correction Filters are engineered to provide true, accurate colour correction, precisely matching industry standards for balancing the K

elvin temperatures among disparate light sources.

UV FILTERS

Rosco offers a UV blocking filter in both Permacolor dichroic glass and plastic. The Permacolor UV Blocking filter reflects both near and far ultraviolet energy as far out as 250 nm.

IR/UV REFLECTOR (Hot Mirror)

Also available in Permacolor glass is an IR/UV filter (hot mirror), a clear filter which passes visible light while reflecting both the infrared and near UV energy. This filter is widely used in museum and architectural applications

Paul Gregory of Focus Lighting enhanced the aesthetic colour of these varying light sources while at the same time balancing the differing Kelvin temperatures at this high-fashion Carlos Miele retail store. Architecture by Asymptote.

NEW!

DICHROFILM

A gel that never burns out? DichroFilm is Rosco’s answer: a flexible, light weight safe, durable plastic gel but with the r

DichroFilm will by far outlast any plastic filter and is good for permanent installations, and where installing glass could be a safety hazard.

DichroFilm is in 25” x 25” (63.5cm x 63.5cm) sheets in 10 standard colours with custom colours available.

™

esistance and long life of Per

macolor dichr

oic Filter.

DICHROFILM PERMACOLOR ROSCO COLOUR FILTER

09108 Primary Blue 31080 Supergel 80 09320 CTB Daylight 43202 E-Colour+ 201 09340 CTO Tungsten 43407 E-Colour+ 204 09460 Indigo 34600 Supergel 385 09476 Magenta 09520 Primary Green 35156 Supergel 389 09550 Yellow 35200 Supergel 312 09559 Cyan 09590 Orange 35900 Supergel 23 09650 Red

34763

35590

36500

Roscolux 44

Supergel 72

gel 26

Super

Equivalents to Permacolor Dichroics and Rosco Colour Filters are subjective and offered as a guideline only. For mor

mation, or to or

e infor

der a sample, please contact Rosco.

PERMACOLOR DICHROIC |

GOBOS

Gobos are used everywhere in modern lighting

to create shapes, shadows and textures. Many

designers use gobos to sculpt the light in an

environment or on an object. The range of

standard gobos, well over 1,800 designs, can

be seen on Rosco’s website or Gobo Catalogue.

In addition, Rosco offers custom gobos,

Herrick Goldman brought this gala function at the Boston Public library to life with rich colours

from the Permacolor Dichroic range. The ceiling light globes were enhanced by projected Gobos.

Photo by Jeffrey Mayes.

fabricated in steel or glass to your design, and

manufactured in our London and Texas facilities.

STANDARD STEEL GOBOS

All DHA:Rosco standard gobos are precision etched onto hard rolled stainless steel to fit most mainstream lanterns, follow spots and moving lights. All catalogue designs are available as standard in any size subject only to the physical attributes of the image. Certain fine designs cannot be reproduced in smaller sizes.

It is also worth noting that some luminaires cannot resolve the full image diameter and most of the popular lanterns have a number of alternative holders to facilitate the use of dif gobo and holder are compatible and that the full image size can be projected.

It is DHA:Rosco’s policy to maintain stock of all catalogue designs in the most popular sizes, allowing the majority of orders to be despatched by return. With the increased range, however, there may be occasions on which we are out of stock of a particular design or a particular size, but rest assured that we will always aim to meet your deadline.

STANDARD GLASS GOBOS

o complement their range of steel gobos DHA:Rosco also pr

T mainstream profile lanterns and moving lights. Unlike metal, glass has the advantage of being able to hold very intricate images and thus allows the projection of extremely fine detail and tonal images from suitable profile spotlights.

Each of the original images in our standard black and white glass range has been designed for use in moving lights and standard profiles

complements our existing range of metal designs. All the images have been designed, projected, assessed and reworked to achieve the

and

fect contrast and balance of tonal shade to solid block. See the DH

per visit our website.

ferent size gobos. If a gobo is being purchased for use in an existing holder it is important to check that the

oduces a range of glass gobos available to special or

osco Gobo Catalogue for a complete selection of these gobos or

A:R

der in sizes to fit most

The scope of pr Allowing the designer access to a range of colour and texture effects limited only by imagination.

ojection ef

fects is enhanced by Rosco’

s ColorWaves

™

, Colorizers™, Prismatics™and Image Glass™Ef

Types of glass gobos:

Standar

d Black & White

Rosco82709/DHA 709G

Silly Cones

| GOBOS

ColorW

33001

Waves - Red

aves

™

Colorizers

55004

Stippled - Blue and Lavender

™

Prismatics

43801

Kaleidoscope

fects Glass Gobos.

™

Image Glass

33617

Hammered

™

CUSTOM GOBOS

Metal -

Metal gobos are usually etched on hard rolled stainless steel for a clean-etched, high quality image. DHA:Rosco also manufactures custom gobos in alternative metals (eg. aluminium or phosphor bronze), to any size, and makes gobo wheels suitable for most available moving lights.

DHA:Rosco custom metal gobos are produced to the highest quality on the most suitable material for the purpose. This can vary between lighting fixtures and your customer service consultant will advise you if any special metals or finishes are recommended.

Glass -

Black & White - As the quality of projection optics has improved so has the market’s demand for greater fidelity in image projection;

no “tagging”, finer detail and grey scales can all be achieved using DHA:Rosco black and white glass gobos.

These are produced using Borosilicate glass with a minimal co-efficient of heat expansion thus giving maximum protection from thermal shock. Conventional screened half tone resolution is at 3560dpi (1400dpcm) and at 400 lines per inch (156 lpcm), Stochastic screening is also used when appropriate to maximise perceived r

esolution.

Colour - Dichroic glass gobos are ideal for coloured artworks ranging from simple line art to full colour photographic images.

For less complex line artworks, with just one or two colours, we will almost certainly opt for a laser ablation technique, producing crisp images on saturated colours chosen from the wide range of standard Rosco dichroic filters. However, if your image contains a range of colours or tones a chemical etching process will provide an almost perfect reproduction of your image or logo.

Full colour dichroic images, such as complex logos are reproduced using the same CMYK (Cyan, Magenta, Yellow, Black) technology used in printing. Colour separations are made and etched to the equivalent filters, these are then precision assembled to ensure perfect

egistration.

Examples of Custom Gobos:

METAL BLACK & WHITE ONE COLOUR

The designers at Simply By Others used gobos to mark the lane numbers

at this 300 San Jose AMF Bowling Center. This clever method to draw

attention to an ar

effect is added to the side walls with the X24 X-Effects projector.

ea is flexible and cost ef

fective. A rippling water

Photo by Simply By Others.

TWO COLOUR FULL COLOUR

THREE COLOUR

GOBOS |

LIGHTING AND PROJECTION EQUIPMENT

INGLE & DOUBLE GOBO ROTATORS

The Single & Double Gobo Rotator allow kinetic and often spectacular lighting effects.

hey are designed to fit in most fixtures with a dropin iris slot. Both rotators have a range of motor ranges, varying speeds in both directions. The DC/DMX controller can operate 4 Single Rotators, or 2 Double Rotators.

The arresting effect in the window of this set was created with Rosco’s standard

eakup (Medium) gobo 77053 in one slot of the rotator and the

steel Dots Br

Sunset Prismatic (glass) gobo 43804 in the other slot.

DMX IRIS

NEW!

The New DMX Iris is a 24 leaf IRIS, giving an even edged perfectly round aperture all the way down to it’s smallest aperture diameter, for control with or without DMX control.

This motorised unit fits the ETC Source 4 and Selecon Pacific and other units in the market. It uses one channel of DMX512 and has a microprocessor controlled stepper motor giving a smooth movement even on slow cross fades.

It’s powered by a non-dim circuit, no external PSU is needed.

INDEXING ROTATOR

s Indexing Rotators are Double and Single Gobo Rotators which allow you to

Rosco’ stop and start the gobo rotation precisely, whenever and wherever you want. This is particularly useful for repetitive effects, such as the hands of a gobo clock, or for architectural effects, such as a shop display window. Rosco‘s Indexing Rotators are

olled thr

contr You control both the speed and direction of the rotation as well as the indexing position (up to 180 degrees available) and the amount of time the gobo stays in that position.

ough DMX512 and the DMX addr

essing facility is built into the unit.

Standard steel and glass (ColorWave) gobos were used in Vortex rotators to

eate the inter

| ROT

esting and kinetic r

TORS & PROJECTORS

eflected fir

e ef

fect on the upstage wall.

VORTEX 360 DUAL ROTATOR

The Vortex 360 Dual Rotator is a versatile low cost dual rotator. It has 2 stainless steel gear drives. The speed can be contr control knob on top of the unit, or through the lighting control desk.

The unit is vey quiet, takes B size gobos, and is designed to fit several fixtur the ETC Source 4 and Selecon Pacific.

™

olled by a simple

es including

... A Selection of the Growing Collection of Rosco Rotators and Projectors.

24 X-EFFECTS PROJECTOR

The X-Effects Projector provides large scale 3-D effects p

reviously unavailable to lighting designers. The device utilizes a 200-watt Enhanced Metal Arc source, whose short arc allows for an output of 5000 lumens, and a 7000 hour lamp life. The colour temperature is similar to a Xenon source at 6000°K, but with nearly two times the luminous effectiveness.

he effect itself is created by rotating two “X’ size glass gobos off-centre of the optical path. This results in a projection that does not appear to have a visible direction or pattern. Onboard potentiometers control the speed and direction of both gobos.

The designers at Focus Lighting found a brilliant solution to projecting rippling water

on the ceiling of The Pier in Caesars Atlantic City. X-Effects Projectors, mounted

down the length of the mall shopping area, gave them the effect they wanted.

Photo by J. R. Krauza.

The X-Effects Projector is available in two configurations, with a DMX on board, or an analogue model.

I-CUE INTELLIGENT MIRROR

The Rosco I-Cue Intelligent Mirror is an ellipsoidal spotlight attachment that allows you to use your spotlight with much greater flexibility and control. The unit slides into the colour slot of the ETC Source 4, Altman Shakespeare, Strand SL and Selecon Pacific. The major function of the unit is to re-position the beam of light so a single spotlight in a fixed position can be used for multiple specials in dozens of locations. With it’s onboard DMX the unit is controlled directly from your lighting console giving you precise control of the mirror’s pan and tilt motion.

EDDY AWARD oduct of the Y

Lighting 2001

ABTT A oduct of the Year

idget Category

2002

WARD

LDI A

oduct of the Year

Scenic Effects

2001

ARD

™

ear

iPRO

IMAGE PROJECTOR

Rosco’s iPro Image Projector system offers users an easy, inexpensive solution for projecting photographic quality images in a theatrical environment. The system consists of the iPro Projector, a precisely engineered accessory which fits the iris slot of most modern spotlights and the iPro Slides. iPro slides can be prepared from

twork, or can be chosen from the array of library images

tually any electr

vir

onic ar

available or can even be prepared in your own facility on an inkjet printer.

Rosco has iPro film available, a One-Time Slide Kit, and an iPro Printing Pack with 10 sheets of Slide Film and 10 iPro Slide Mounts.

INFINITY

™

The Infinity, Rosco’s gobo animation device, offers superb kinetic lighting effects combined with simplicity of use and low cost.

The Infinity device affixes to the gel frame of virtually any spotlight. Affix one of the disks to the device, place a steel or glass gobo in the gate, plug the Infinity into an outlet or dimmer and watch magic appear on your stage or studio. The Infinity is equipped with onboard control of the Infinity Disk speed and direction, as well as an on/of

f switch.

s Infinity was af

Rosco’

fixed to two overlapping spotlights to generate this r

effect. Both spotlights included a Water 1 gobo (No.77833) in their gates. The

Infinity in one unit was disk 30019, in the other disk 30011.

ealistic rain

ROTATORS & PROJECTORS |

Roscolab Ltd

German Office:

Görlitzer Str.2, D-33758 Schloss Holte-Stukenbrock

Tel: +49 (0)5207 995989 Fax: +49 (0)5207 925 989

Netherlands Office:

Claus Sluterweg 125/1b, 2012 WS Haarlem

Tel: +31 (0)23 5288 257 Fax: +31 (0)23 5286 754

Italian Office:

Via Verdi N.4. 50122 Firenze

Tel: +39 055 243131 Fax: +39 055 0517394

Rosco Ibérica:

C/Oro 76 Polígono Industrial Sur, 28770 Colmenar Viejo

Madrid. Tel: +34 918 473 900 Fax: +34 918 463 634

Rosco Laboratories Inc:

52 Harbor View Avenue, Stamford, CT 06902, USA Tel: +1 203 708 8900 Fax: +1 203 708 8919

1265 Los Angeles Street, Glendale, CA 91204

Tel: +1 818 543 6700 Fax: +1 818 662 9470

Rosco Laboratories Ltd:

1241 Denison St. No.44, Markham, Ontario L3R 4B4, Canada

Tel: +1 905 475 1400 Fax: +1 905 475 3351

Unit 107, 3855 Henning Drive, Bur

Tel: +1 604 298 7350 Fax: +1 604 298 7360

Rosco do Brasil Ltda

Rue Antônio De Barros, 827, 03401-000 São Paulo-SP, Brasil

Tel: +55 11 2098 2865 Fax: +55 11 2098 0193

Rosco Australia Pty Ltd:

42 Sawyer Lane, Artarmon 2064, New South Wales, Australia

Tel: +61 2 9906 6262 Fax: +61 2 9906 3430

naby, Vancouver V5C 6N3, Canada

Rosco Roscolux Quick Start Guide

Specifications and Main Features

Frequently Asked Questions

User Manual