| |
Converts 5500K to 3800K |
| |
Converts 5500K to 3200K. Nice strong amber. Less pink than
R04. (Transmission = 58%). |
| |
Converts 5500K to 2900K |
| |
(Transmission = 73%). |
| |
(Transmission = 50%). |
| |
(Transmission = 33%). |
| |
(Transmission = 17%). |
| |
Very pale yellow. Interior lighting to create industrial mood.
(Transmission = 80%). |
| |
Double 4515. Medium yellow with green tone. Bright sunlight
accents. Not flattering on skin. Combine with 4430 for rich
foliage washes. (Transmission = 75%). |
| |
Double 4530. Strong yellow with green tone. Deep sunlight
rays. (Transmission = 70%). |
| |
4530 + 4560. Very strong sunlight with no red accents. (Transmission
= 66%). |
| |
Flattering Firelight (Transmission = 23%). |
| |
Deep yellow with amber tones. Strong, late day sunlight. Flattering
on skin. (Transmission = 64%). |
| |
Very pale red. Subtle warming on skin tones. Warmer than R05.
(Transmission = 67%). |
| |
Double 4615. Pale red with peach tones. Nice on skin when
paired with a cooler cross light. (Transmission = 55%). |
| |
Double 4630. Medium red with pale salmon accents. Romantic
subtle back or side lighting. (Transmission = 39%). |
| |
4660 + 4630. Strong salmon red. Deeper and more orange than
32. Beautiful backlight. (Transmission = 30%). |
| |
Between 33 and 333. Excellent on all skin tones. Not as cool
as 333. (Transmission = 71%). |
| |
Double 4815. Pretty pink. Slightly more blue than 34. Nice
for musicals and "happy" lighting. (Transmission = 61%). |
| |
Double 4830. Rich pink accent. Excellent in follow-spots.
(Transmission = 46%). |
| |
4830 + 4860. Deep rich pink. Lighter than 332. Romantic backlight
or accent color. (Transmission = 38%). |
| |
Partial green absorbing filter. |
| |
Converts cool white fluorescents to daylight. |
| |
Pale Magenta. Cooler than 3318. Useful on many skin tones.
(Transmission = 65%). |
| |
Double 4715. Medium cool magenta. Nice fill light without
adding warmth. (Transmission = 52%). |
| |
Double 4730. Strong pink/magenta. Interesting side light with
slight bluish cast. (Transmission = 37%). |
| |
4760 + 4730. Clean dominant magenta. Good choice for CYM color
mixing. (Transmission = 28%). |
| |
Pale no color lavender. Slightly cooler than 351. Tones without
adding color. (Transmission = 61%). |
| |
Double 4915. Excellent cool on skin tones. Nice warm tones
during nighttime. (Transmission = 47%). |
| |
Double 4930. Rich comfortable lavender. Compliments darker
skin tones. (Transmission = 29%). |
| |
4960 + 4930. Dynamic, lush backlight. More red than 357. (Transmission
= 18%). |
| |
Boosts 3200K to 3800K |
| |
Boosts 3200K to 4100K |
| |
(Transmission = 41%). |
| |
Boosts 3200K to 5500K |
| |
Bright nighttime area light. Crisp moonlight. (Transmission
= 10%). |
| |
Double 4215. Pale blue with reddish cast. (Transmission =
42%). |
| |
Double 4230. Medium blue with red tones. Nice cool crosslight
on most skin tones. (Transmission = 24%). |
| |
4260 + 4230. Deep red blue. Enhances deep blues in costumes
and scenery. Vibrant backlight. (Transmission = 15%). |
| |
Rich deep indigo blue. Slightly more red than 81. (Transmission
= 10%). |
| |
Deep icy blue with violet undertones. Moonlight illusions.
(Transmission = 4%). |
| |
Deep reddish purple. Nice as saturated special accent. (Transmission
= 3%). |
| |
Double 4315. Slightly greener than "normal" daylight. Uncomfortable
skylight. (Transmission = 63%). |
| |
Double 4330. Strong eerie daylight. Simulates fluorescent
and industrial light sources. (Transmission = 50%). |
| |
4360 + 4330. Strong cyan. Fantasy water scenes. (Transmission
= 39%). |
| |
(Transmission = 18%). |
| |
Adds partial green to balance with fluorescents. |
| |
To balance daylight sources to cool white fluorescents. |
| |
Pale, balanced green without yellow tones. Nice for leaf breakups
and foliage washes. (Transmission = 67%). |
| |
Double 4415. Golden green wash. Less saturated but strong,
balanced green. Excellent for exterior landscaping. (Transmission
= 52%). |
| |
Double 4430. Rich bright green. Good transmission of color.
(Transmission = 32%). |
| |
4460 + 4430. Bright saturated clean green. (Transmission =
18%). |
| |
Strong dominant green. Less yellow than 90. "Christmas tree"
green. (Transmission = 15%). |
| |
Enhances fair skin tones. Suggests strong sunlight. (Transmission
= 56%). |
| |
Good where a tint of color is needed. Excellent for natural
skin tones. (Transmission = 78%). |
| |
Very pale warm white. Perfect for enhancing the HPL lamp in
a Source Four. (Transmission = 88%). |
| |
Most saturated Bastard Amber. (Transmission = 62%). |
| |
Heavier Amber-pink tint. Useful to create warm sunlight. (Transmission
= 55%). |
| |
Especially useful when cross lit with a cool color. Excellent
for natural sunlight. (Transmission = 66%). |
| |
A peach amber. More yellow than 305. (Transmission = 79%).
|
| |
A clean pale pink; useful as a blush for skin tones. (Transmission
= 80%). |
| |
A pale blush amber for skin tones and backlight. (Transmission
= 75%). |
| |
Slightly off white. Good for interiors. (Transmission = 92%).
|
| |
Double saturation of 06. (Transmission = 96%). |
| |
Warmer straw. Flattering to skin tones. (Transmission = 86%).
|
| |
Deep straw. Good for late afternoon sunsets or firelight.
(Transmission = 74%). |
| |
Yellow with green. Good for special effects. Unflattering
in acting areas. (Transmission = 92%). |
| |
A soft medium yellow. Can be used for creating naturalistic
effects such as early morning sunlight or for special effects.
(Transmission = 82%). |
| |
Pale yellow with slight red content. Useful for candle effects.
Can be used for area lighting. For bright day feeling. (Transmission
= 82%). |
| |
Greener yellow than 10. Special effects and accents. Use with
caution on skin tones. (Transmission = 88%). |
| |
Warmer than 10. A bright, vibrant yellow that evokes exotic
sunlight. Use with caution on skin. (Transmission = 85%).
|
| |
Much less green than in other straws. Suggests warm sunlight
glow when contrasted with ambers and blues. (Transmission
= 78%). |
| |
Vibrant Yellow. More red than 312. Less green than all other
yellows. (Transmission = 77%).
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for more information. |
| |
Pale amber-higher red content than 12. Sunlight, accents,
area lighting with caution to skin tones. (Transmission =
68%). |
| |
Warm golden amber with some green. Useful for special effects-candlelight,
firelight. (Transmission = 65%). |
| |
Excellent area light. Light pink-amber tint. Safe for most
light skin tones. (Transmission = 68%). |
| |
A pale reddish gold, good for creating sunrise or sunset,
or simulating incandescent light. A flattering naturalistic
backlight color. Can be used for warm area lighting. (Transmission
= 58%). |
| |
Heavier pink-amber tint. Useful for dance. Especially useful
when balanced with a cool color. Good general warm tint in
striplights. (Transmission = 56%). |
| |
A rosy amber which produces a romantic sunset color. Useful
as sidelight or backlight color. (Transmission = 51%). |
| |
Warm pinkish amber. Afternoon sunset. Good sidelight. (Transmission
= 56%). |
| |
A medium salmon color which evokes feeling of a tropical island.
A good sunset color. Interesting backlight and accent color.
Good for warm tonal effects. (Transmission = 52%). |
| |
Strong red amber. Excellent for fire effects. (Transmission
= 20%). |
| |
Afternoon sunlight. Lamplight and candlelight. Tends to depress
color pigment values. (Transmission = 54%). |
| |
Useful for amber cyc light and late sunsets. (Transmission
= 43%). |
| |
An amber with some green content. A good sunlight transition
color that shows the progression of the sun from white or
yellow to amber later in the day. (Transmission = 39%). |
| |
Very useful as a backlight. Dramatic specials and firelight.
(Transmission = 26%). |
| |
Provides a romantic sunlight through windows for evening effects.
(Transmission = 32%). |
| |
Very deep amber. Red with a touch of blue. (Transmission =
22%). |
| |
Vibrant orange-red. Helps red and orange scenery pop. (Transmission
= 31%). |
| |
Good for firelight or special effects. Use when red with higher
yellow content is needed. (Transmission = 14%). |
| |
Toasted red-amber color. Useful in re-creating setting sun
or as a dramatic cyc. (Transmission = 18%). |
| |
Vibrant red. Good alternative primary. (Transmission = 12%).
|
| |
Good red primary for use with three-color light primary systems
in cyclorama lighting, footlights, and border lights. (Transmission
= 4%). |
| |
Excellent for general area washes. Gives overall warming effect
to skin tones. (Transmission = 44%). |
| |
General wash. Good for follow spots. (Transmission = 46%).
|
| |
Warmer and lighter than 31. Good for fair skin tones and to
emphasize romance. (Transmission = 68%). |
| |
Deepest of the salmon pinks. (Transmission = 28%). |
| |
A tropical pink that is good for musicals or concert lighting.
A good backlight color. Interesting accent color. Good for
a splash of sunset color. (Transmission = 38%). |
| |
A pale almost colorless pink. (Transmission = 65%). |
| |
A pink tint that is excellent for most skin tones. A good
color for warm area lighting. Lighter than 33. (Transmission
= 71%). |
| |
Useful for bright musicals. Creates a happy atmosphere. (Transmission
= 45%). |
| |
Similar to 33, but slightly deeper. (Transmission = 66%).
|
| |
Good for general washes and cross lighting. (Transmission
= 46%). |
| |
(Transmission = 48%). |
| |
Blue Pink, Use in general washes and toning. (Transmission
= 56%). |
| |
A cool pink excellent for washes and general illumination.
A good follow spot color. A component of early morning sunrise.
(Transmission = 55%). |
| |
Similar uses as 37, but with greater saturation. (Transmission
= 49%). |
| |
A sultry, deep purple. Good for musicals or concert lighting.
Excellent special effects color. (Transmission = 10%). |
| |
A deep, saturated pink created for musicals and specials.
Excellent for down and backlighting. (Transmission = 15%).
|
| |
Similar uses to 23 but a bluer color. (Transmission = 34%).
|
| |
Light orange with high blue content. (Transmission = 24%).
|
| |
More red than 342. (Transmission = 8%). |
| |
Extremely intense, hot pink. Produces strong washes of color
for concert and dance. Combined with a complimentary color
like turquoise, will create a dynamic, sculptured effect.
(Transmission = 16%). |
| |
Rich, hot pink. Electric in effect with rich saturation. (Transmission
= 28%). |
| |
A bright, dark pink excellent for musicals or rock and roll
concert lighting. A good color for creating fake neon effects
with fluorescent tubes. (Transmission = 33%). |
| |
Musical pink. Lush accents. Very versatile color. (Transmission
= 26%). |
| |
A vibrant, almost fluorescent pink with a cool component.
Traditionally important as a special effects color in the
Broadway musical. Follow spot and dance applications as a
modeling color. (Transmission = 21%). |
| |
Use on scenery and background effects. Adds tone and modeling
to scenery. (Transmission = 8%). |
| |
Similar uses as 45 where more saturation is needed. (Trans.=
6%). (Transmission = 6%). |
| |
(Transmission = 22%). |
| |
Good for eerie or dramatic effects. Beautiful backlight color.
(Transmission = %). |
| |
Powerful magenta-purple. Good effects filter for dance. (Transmission
= 6%). |
| |
Pale evening color. Excellent for backlight. (Transmission
= 16%). |
| |
A dusky purple. Good for simulating purple neon or old night
club atmosphere. (Transmission = 14%). |
| |
Darkest of the magenta purple range. (Transmission = 4%).
|
| |
A medium fuchsia good for special effects. An interesting
backlight or accent color. (Transmission = 11%). |
| |
Subdued sunset effect. Useful in backlights. To create seedy
atmosphere. (Transmission = 14%). |
| |
Excellent for general area or border light washes. It is a
basic followspot color. (Transmission = 26%). |
| |
Use when a touch of color is needed. (Transmission = 64%).
|
| |
Same intensity as 55 with more red content. (Transmission
= 29%). |
| |
Same as 53, but warmer. Useful for beams of realistic moonlight.
(Transmission = 50%). |
| |
Same as 53, but cooler. (Transmission = 37%). |
| |
A cool lavender which acts as a neutral in a three color area
lighting system. Will work well as a wash for drops or set
pieces. Tones the space. Effective as moonlight shadows. (Transmission
= 20%). |
| |
Highly saturated, good for side and backlighting and non-realistic
effect. (Transmission = 4%). |
| |
A lavender halfway between 52 and 57 in hue and value. Useful
for general illumination and side-lighting. (Transmission
= 27%). |
| |
Excellent backlight. Gives good visibility without destroying
night illusions. (Transmission = 24%). |
| |
A rich lavender which will enhance blue and red costumes and
scenic pieces. Excellent for nightime scenes. Rich, vivid
accents, good in backgrounds. (Transmission = 5%). |
| |
Excellent back light. Enhances dimensionality. (Trans.= 10%).
(Transmission = 10%). |
| |
A warm, red purple that recalls the Jazz Age. Useful for creating
saturated color effects in live performance situations-club
and musical group lighting. (Transmission = 5%). |
| |
The original Congo Blue. A purple-blue, highly saturated,
for modeling effects and non-realistic atmospheres. (Transmission
= 2%). |
| |
Midnight and moonlight illusions. Enforces mysterious mood.
Useful for evening cyc wash.
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for more information. |
| |
Helps maintain white light when dimmer is at low intensity.
(Transmission = 62%). |
| |
The slightest blue tint. Excellent for eliminating amber shift
when lights are running low on a dimmer. Good for cool area
light. (Transmission = 52%). |
| |
Excellent for general area washes. Very light cool tint of
blue. (Transmission = 66%). |
| |
A sharp cold blue that stays clean when dimmed. (Transmission
= 18%).
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Click here
for more information. |
| |
Helps maintain white light when dimmer is at low intensity.
(Transmission = 54%). |
| |
A soft clean blue. Good choice for cool area lighting. Can
also be used to shift the amber of lamps running at low dimmer
levels. (Transmission = 32%). |
| |
Good for creating an overcast look and feeling. (Transmission
= 56%). |
| |
A pale blue-green color. Can be used for area lighting. A
soft backlight color. (Transmission = 52%). |
| |
Useful for beams of realistic moonlight. (Transmission = 2%).
|
| |
A clean light red blue. Creates naturalistic daylight fill
color. Good cool area light. (Transmission = 32%). |
| |
Useful for achieving depressed moods and dull skies. (Transmission
= 35%). |
| |
Clean blue with more red than 364. A true color correction
filter for film. Converts 3200°K to 5500°K. Good for area
light. (Transmission = 36%). |
| |
More green than 65. A crisp light blue-green. (Transmission
= 32%). |
| |
A pale green shade of blue; good for area or general washes.
Creates an icy feeling on stage. (Transmission = 67%). |
| |
Excellent sky color. Useful for cyc and border lights. (Transmission
= 26%). |
| |
Clean medium blue. Good for sky color or moonlight. (Transmission
= 20%). |
| |
Excellent for early morning sky tones. Popular among designers
for cyc and borders. (Transmission = 14%). |
| |
A silvery blue, used for front light and moonlight. (Transmission
= 16%). |
| |
Used for dramatic moonlight effects. (Transmission = 18%).
|
| |
Slightly more green than 69. (Transmission = 22%). |
| |
Useful for very light midday skies. Occasionally used for
general cool tint. (Transmission = 45%). |
| |
Good to create eerie and mysterious effects. Good for night
time water effects. (Transmission = 31%). |
| |
Occasionally used for general cool tint and non-realistic
washes. (Transmission = 30%). |
| |
Less red than 3202. (Transmission = 35%). |
| |
A clean slightly green blue. Good moonlight fill. (Transmission
= 44%). |
| |
Good for fantasy, moonlight and water effects. (Transmission
= 28%). |
| |
Fantasy moonlight. Crisp and beautiful. Popular as a backlight
or sidelight in contrast to area light. (Transmission = 4%).
|
| |
For enhancing water scenes or deep sea environments. Greener
than 73. (Transmission = 26%). |
| |
Less green & cresper than 76. (Transmission = 11%). |
| |
A crisp, clean blue-green. Useful as a water effect or as
a sidelight for dance. (Transmission = 32%). |
| |
Distinctive greenish blues. Useful for romantic moonlight.
(Transmission = 9%). |
| |
A soothing green blue. More blue than 76. A good conventional
moonlight color. Interesting tonal color. (Transmission =
6%). |
| |
Distinctive greenish blues. Useful for romantic moonlight.
(Transmission = 9%). |
| |
Medium neutral lavendar. Good wash light. (Transmission =
11%). |
| |
A rich clean red blue that warms to lavender when dimmed.
(Transmission = 19%). |
| |
A rich clean red blue that warms to lavender when dimmed.
(Transmission = 15%). |
| |
Cool clear bright blue. (Transmission = 8%). |
| |
Primary blue. For use with three color light primary system
in cyc lighting. (Transmission = 9%). |
| |
Very cold brittle feeling. (Transmission = 10%). |
| |
(Transmission = 6%). |
| |
Deep rich blue with slight amount of red. (Transmission =
6%). |
| |
Deep blue more saturated than Roscolux 385. Good for dark
night skies or for a backlight color. A great color for rock
and roll concert lighting. (Transmission = 0.56%). |
| |
Good for non-realistic night skies. (Transmission = 4%). |
| |
A deep romantic blue on the red side. (Transmission = 4%).
|
| |
A true blue with excellent punch for bright skies. Lovely
contrast to pale blues; adds coldness to shadows. (Transmission
= 14%). |
| |
An intense red-blue. Deeper than 83 with a little more red.
(Transmission = 2%). |
| |
Deeply saturated blue with a hint of red. (Transmission =
3%). |
| |
Excellent for non-realistic backgrounds. A very saturated
blue. Pronounced red content that will shift toward purple
when dimmed. Low transmission but will offer a striking contrast
when used as a background with lighter accents. (Transmission
= 4%). |
| |
Good for dense foliage and woodland effects. (Transmission
= 56%). |
| |
(Transmission = 32%). |
| |
Sunny spring mornings. (Transmission = 82%). |
| |
A yellow-green similar to the color emitted by gas lighting
fixtures. Appropriate for period pieces: i.e. La Boheme, and
useful for creating reflections from fields and meadows. (Transmission
= 76%). |
| |
Useful for mood, mystery and toning. (Transmission = 45%).
|
| |
Suggests reflected light from dense foliage. A brilliant cyc
lighting color which will work for chroma-keying effects in
television production (Transmission = 40%). |
| |
Alternate primary where higher transmission is desired. (Transmission
= 13%). |
| |
Primary green for three color primary system. (Transmission
= 7%). |
| |
Useful for mood of mystery and for toning scenery that has
been spattered in blues. (Transmission = 59%). |
| |
Cyc Wash. Good Costume color. Magical on skin. (Transmission
= 20%). |
| |
Useful for mood of mystery and for toning scenery that has
been spattered in blues. (Transmission = 35%). |
| |
An exagerrated green. Nearly double intensity as 93, less
blue than 95. (Transmission = 14%). |
| |
Fantasy and unrealistic effects. Unflattering on skin tones.
(Transmission = 25%). |
| |
Used on foliage in moonlight areas or for creating a mood
of mystery. Good for toning scenery painted in blues, blue-greens
and greens. (Transmission = 15%). |
| |
A medium green-blue which can be used as a mystical special
effect color. Also an interesting side or backlight color
in concert lighting. (Transmission = 13%). |
| |
To simulate unnatural sunlight before and after a rainstorm
or tornado. (Transmission = 98%). |
| |
Warms light and reduces intensity. (Transmission = 35%). |
| |
Combine a color with Matte Diffusion. Aids in broad, even
illumination of cycs and drops. (Transmission = 12%). |
| |
Combine a color with Matte Diffusion. Aids in broad, even
illumination of cycs and drops. (Transmission = 8%). |
| |
Combine a color with Matte Diffusion. Aids in broad, even
illumination of cycs and drops. (Transmission = 13%). |
| |
Combine a color with 104 Tough Silk. (Transmission = 12%).
|
| |
Useful in border and striplights to prevent scalloping; helps
illuminate cycs and drops. (Transmission = 8%). |
| |
Useful in border and striplights to prevent scalloping; helps
illuminate cycs and drops. (Transmission = 13%). |
| |
A secondary color combined with 104 Tough Silk. (Transmission
= 32%). |
