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Front CS

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Front DL

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Front DR

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High Sides SL

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High Sides SR

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Backlight

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Toplight

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Sidelight

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Surround

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Cyclorama					Footlight

Help Overview

The numbers and circles below are used to select channels. Channels control lights on the stage.
The stage is divided into five general lighting areas. The layout of the channels in each group represents their arrangement on stage.
Click any channel or group of channels to select them. Then open the editing palette to adjust them.
You can choose any color. You can add gobos. You can edit any channel or group of channels differently than the rest.
There are multiple settings and stage arrangements available.
Click RECORD & RUN cues to open the recording palette.
As you record cues, you can browse them using the left/right arrows in the bottom-right of the screen.
To run them with their crossfade timings, select "Run Cues" from within the recording palette.

View video demo

Methods & Shortcuts:

Escape: Release everything and close all palettes.
Double-click stage: open or close the editing palette.
Click or drag on the palette to choose colors.
Use the grayscale picker to adjust the overall brightness while editing.

More Help: Frequently Asked Questions

Stage directions and areas:

The stage includes five acting areas. The lights have a system based on these areas. The more you play with it, the easier it is to understand.

Each of those areas has a bunch of lights pointed at it. The lights are controlled with numbers called *channels.* There is a system to these numbers. Play with it and you'll see.

Matt Kizer: Scenic & Lighting Design

Light labs, videos, & education tools.

Cue Builder Light Lab

This light lab emulates a stage with a complete light plot and console. The console can be used to build light cues.

You are looking at a dark stage.

Below are channels as they appear on our virtual lighting console.

Select any channel or group of channels by clicking on them. Then click "edit channels" or double-click the middle of the screen.

Assign color and brightness. Choose different lights, and continue editing.

Record the look as a cue, and move on to the next one. Video Demo

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Click to close

Rosco Color Chart by Color and Number

This is selection of Roscolux® color filters. Color filters are tinted, transparent sheets of synthetic material. When used in a color frame with a lighting fixture, they change the color of the light.

Rosco is a company that is best known for the products they produce for the entertainment industry. These include color filters, scenic paint, and gobos.

The colors shown here are approximations. They will vary a little from the actual color for every computer, tablet, printer, or phone used to present them.

Click color to apply.	Click to view filter data. More info
Apply to Selected	00 Clear Used in color scrollers or cut-and-tape filter creations when a clear filter is needed.
Apply to Selected	01 Light Bastard Amber Flattering for pale skin tones. Suggests strong sunlight.
Apply to Selected	02 Bastard Amber Good where a tint of color is needed. Excellent for natural skin tones.
Apply to Selected	03 Dark Bastard Amber Most saturated Bastard Amber.
Apply to Selected	303 Warm Peach Heavier Amber-pink tint. Useful to create warm sunlight.
Apply to Selected	04 Medium Bastard Amber Especially useful when cross lit with a cool color. Excellent for natural sunlight.
Apply to Selected	304 Pale Apricot A peach amber. More yellow than 305.
Apply to Selected	05 Rose Tint A clean pale pink; useful as a blush for some skin tones.
Apply to Selected	305 Rose Gold A pale blush amber for skin tones and backlight.
Apply to Selected	06 No Color Straw Slightly off white. Good for interiors.
Apply to Selected	07 Pale Yellow Double saturation of 06.
Apply to Selected	08 Pale Gold Warmer straw. Flattering to skin tones.
Apply to Selected	09 Pale Amber Gold Deep straw. Good for late afternoon sunsets or firelight.
Apply to Selected	10 Medium Yellow Yellow with green. Good for special effects. Unflattering in acting areas.
Apply to Selected	310 Daffodil A soft medium yellow. Can be used for creating naturalistic effects such as early morning sunlight or for special effects.
Apply to Selected	11 Light Straw Pale yellow with slight red content. Useful for candle effects. Can be used for area lighting. For bright day feeling.
Apply to Selected	12 Straw Greener yellow than 10. Special effects and accents. Use with caution on skin tones.
Apply to Selected	312 Canary Warmer than 10. A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin.
Apply to Selected	13 Straw Tint Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues.
Apply to Selected	313 Light Relief Yellow Vibrant Yellow. More red than 312. Less green than all other yellows.
Apply to Selected	14 Medium Straw Pale amber-higher red content than 12. Sunlight, accents, area lighting with caution to skin tones.
Apply to Selected	15 Deep Straw Warm golden amber with some green. Useful for special effects-candlelight, firelight.
Apply to Selected	16 Light Amber Excellent area light. Light pink-amber tint. Safe for most light skin tones.
Apply to Selected	316 Gallo Gold 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.
Apply to Selected	17 Light Flame Heavier pink-amber tint. Useful for dance. Especially useful when balanced with a cool color. Good general warm tint in striplights.
Apply to Selected	317 Apricot A rosy amber which produces a romantic sunset color. Useful as sidelight or backlight color.
Apply to Selected	18 Flame Warm pinkish amber. Afternoon sunset. Good sidelight.
Apply to Selected	318 Mayan Sun 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.
Apply to Selected	19 Fire Strong red amber. Excellent for fire effects.
Apply to Selected	20 Medium Amber Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values.
Apply to Selected	21 Golden Amber Useful for amber cyc light and late sunsets.
Apply to Selected	321 Soft Golden Amber 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.
Apply to Selected	22 Deep Amber Very useful as a backlight. Dramatic specials and firelight.
Apply to Selected	23 Orange Provides a romantic sunlight through windows for evening effects.
Apply to Selected	24 Scarlet Very deep amber. Red with a touch of blue.
Apply to Selected	324 Gypsy Red Vibrant orange-red. Helps red and orange scenery pop.
Apply to Selected	25 Orange Red Good for firelight or special effects. Use when red with higher yellow content is needed.
Apply to Selected	26 Light Red Vibrant red. Good alternative primary.
Apply to Selected	27 Medium Red Good red primary for use with three-color light primary systems in cyclorama lighting, footlights, and border lights.
Apply to Selected	30 Light Salmon Pink Excellent for general area washes. Gives overall warming effect to skin tones.
Apply to Selected	31 Salmon Pink General wash. Good for follow spots.
Apply to Selected	331 Shell Pink Warmer and lighter than 31. Good for fair skin tones and to emphasize romance.
Apply to Selected	32 Medium Salmon Pink Deepest of the salmon pinks.
Apply to Selected	332 Cherry Rose 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.
Apply to Selected	33 No Color Pink A pale almost colorless pink.
Apply to Selected	333 Blush Pink A pink tint that is excellent for most skin tones. A good color for warm area lighting. Lighter than 33.
Apply to Selected	34 Flesh Pink Useful for bright musicals. Creates a happy atmosphere.
Apply to Selected	35 Light Pink Similar to 33, but slightly deeper.
Apply to Selected	36 Medium Pink Good for general washes and cross lighting.
Apply to Selected	336 Billinton Pink
Apply to Selected	37 Pale Rose Pink Blue Pink, Use in general washes and toning.
Apply to Selected	38 Light Rose Similar uses as 37, but with greater saturation.
Apply to Selected	39 Skelton Exotic Sangria
Apply to Selected	339 Broadway Pink A deep, saturated pink created for musicals and specials. Excellent for down and backlighting.
Apply to Selected	40 Light Salmon Similar uses to 23 but a bluer color. Flattering for some darker skin tones.
Apply to Selected	41 Salmon Light orange with high blue content.
Apply to Selected	42 Deep Salmon More red than 342.
Apply to Selected	342 Rose Pink 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.
Apply to Selected	43 Deep Pink Rich, hot pink. Electric in effect with rich saturation.
Apply to Selected	343 Neon Pink A bright, dark pink excellent for musicals or rock and roll concert lighting. A good color for creating fake neon effects with fluorescent tubes.
Apply to Selected	44 Middle Rose Musical pink. Lush accents. Very versatile color.
Apply to Selected	344 Follies Pink 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.
Apply to Selected	45 Rose Use on scenery and background effects. Adds tone and modeling to scenery.
Apply to Selected	46 Magenta Similar uses as 45 where more saturation is needed.
Apply to Selected	346 Tropical Magenta
Apply to Selected	47 Light Rose Purple Good for eerie or dramatic effects. Beautiful backlight color.
Apply to Selected	347 Belladonna Rose Powerful magenta-purple. Good effects filter for dance.
Apply to Selected	48 Rose Purple Pale evening color. Excellent for backlight.
Apply to Selected	348 Purple Jazz A dusky purple. Good for simulating purple neon or old night club atmosphere.
Apply to Selected	49 Medium Purple Darkest of the magenta purple range.
Apply to Selected	349 Fischer Fuchsia A medium fuchsia good for special effects. An interesting backlight or accent color.
Apply to Selected	50 Mauve Subdued sunset effect. Useful in backlights. To create seedy atmosphere.
Apply to Selected	51 Surprise Pink Touch of color when white light is not desirable.
Apply to Selected	351 Lavender Mist
Apply to Selected	52 Light Lavender Excellent for general area or border light washes. It is a basic followspot color.
Apply to Selected	53 Pale Lavender Use when a touch of color is needed.
Apply to Selected	353 Lilly Lavender Same intensity as 55 with more red content.
Apply to Selected	54 Special Lavender Same as 53, but warmer. Useful for beams of realistic moonlight.
Apply to Selected	355 Pale Violet 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.
Apply to Selected	55 Lilac Same as 53, but cooler.
Apply to Selected	56 Gypsy Lavender Highly saturated, good for side and backlighting and non-realistic effect.
Apply to Selected	356 Middle Lavender A lavender halfway between 52 and 57 in hue and value. Useful for general illumination and side-lighting.
Apply to Selected	57 Lavender Excellent backlight. Gives good visibility without destroying night illusions.
Apply to Selected	357 Royal Lavender A rich lavender which will enhance blue and red costumes and scenic pieces. Excellent for nightime scenes. Rich, vivid accents, good in backgrounds.
Apply to Selected	58 Deep Lavender Excellent back light. Enhances dimensionality.
Apply to Selected	358 Rose Indigo A warm, red purple that recalls the Jazz Age. Useful for creating saturated color effects in live performance situations-club and musical group lighting.
Apply to Selected	59 Indigo The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres.
Apply to Selected	359 Medium Violet Midnight and moonlight illusions. Enforces mysterious mood. Useful for evening cyc wash.
Apply to Selected	60 No Color Blue Helps maintain white light when dimmer is at low intensity.
Apply to Selected	360 Clearwater The slightest blue tint. Excellent for eliminating amber shift when lights are running low on a dimmer. Good for cool area light.
Apply to Selected	61 Mist Blue Excellent for general area washes. Very light cool tint of blue.
Apply to Selected	62 Booster Blue Helps maintain white light when dimmer is at low intensity.
Apply to Selected	362 Tipton Blue 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.
Apply to Selected	63 Pale Blue Good for creating an overcast look and feeling.
Apply to Selected	363 Aquamarine A pale blue-green color. Can be used for area lighting. A soft backlight color.
Apply to Selected	64 Light Steel Blue Useful for beams of realistic moonlight.
Apply to Selected	364 Blue Bell A clean light red blue. Creates naturalistic daylight fill color. Good cool area light.
Apply to Selected	65 Daylight Blue Useful for achieving depressed moods and dull skies.
Apply to Selected	365 Tharon Delft Blue Clean blue with more red than 364. A true color correction filter for film. Converts 3200°K to 5500°K. Good for area light.
Apply to Selected	66 Cool Blue A pale green shade of blue; good for area or general washes. Creates an icy feeling on stage.
Apply to Selected	366 Jordan Blue More green than 65. A crisp light blue-green.
Apply to Selected	67 Light Sky Blue Excellent sky color. Useful for cyc and border lights.
Apply to Selected	367 Slate Blue Clean medium blue. Good for sky color or moonlight.
Apply to Selected	68 Sky Blue Excellent for early morning sky tones. Popular among designers for cyc and borders.
Apply to Selected	69 Brilliant Blue Used for dramatic moonlight effects.
Apply to Selected	369 Tahitian Blue Slightly more green than 69.
Apply to Selected	70 Nile Blue Useful for very light midday skies. Occasionally used for general cool tint.
Apply to Selected	370 Italian Blue Good to create eerie and mysterious effects. Good for night time water effects.
Apply to Selected	71 Sea Blue Occasionally used for general cool tint and non-realistic washes.
Apply to Selected	371 Theatre Booster 1 Less red than 3202.
Apply to Selected	72 Azure Blue A clean slightly green blue. Good moonlight fill.
Apply to Selected	372 Theatre Booster 2 Slightly lighter and less red than 3204.
Apply to Selected	73 Peacock Blue Good for fantasy, moonlight and water effects.
Apply to Selected	373 Theatre Booster 3 Slightly lighter and less red than 3208.
Apply to Selected	74 Night Blue Fantasy moonlight. Crisp and beautiful. Popular as a backlight or sidelight in contrast to area light.
Apply to Selected	374 Sea Green For enhancing water scenes or deep sea environments. Greener than 73.
Apply to Selected	75 Twilight Blue NEW! Less green & crisper than 76.
Apply to Selected	76 Light Green Blue Distinctive greenish blues. Useful for romantic moonlight.
Apply to Selected	376 Bermuda Blue A soothing green blue. More blue than 76. A good conventional moonlight color. Interesting tonal color.
Apply to Selected	77 Green Blue Distinctive greenish blues. Useful for romantic moonlight.
Apply to Selected	377 Iris Purple Medium neutral lavendar. Good wash light.
Apply to Selected	78 Trudy Blue A rich clean red blue that warms to lavender when dimmed.
Apply to Selected	378 Alice Blue A rich clean red blue that warms to lavender when dimmed.
Apply to Selected	79 Bright Blue Cool clear bright blue.
Apply to Selected	80 Primary Blue Primary blue. For use with three color light primary system in cyc lighting.
Apply to Selected	81 Urban Blue Very cold brittle feeling.
Apply to Selected	82 Surprise Blue Deep rich blue with slight amount of red.
Apply to Selected	382 Congo Blue Deep blue more saturated than 385. Good for dark night skies or for a backlight color. A great color for rock and roll concert lighting.
Apply to Selected	83 Medium Blue Good for non-realistic night skies.
Apply to Selected	383 Sapphire Blue A deep romantic blue on the red side.
Apply to Selected	84 Zephyr Blue A true blue with excellent punch for bright skies. Lovely contrast to pale blues; adds coldness to shadows.
Apply to Selected	384 Midnight Blue An intense red-blue. Deeper than 83 with a little more red.
Apply to Selected	85 Deep Blue Deeply saturated blue with a hint of red.
Apply to Selected	385 Royal Blue 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.
Apply to Selected	86 Pea Green Good for dense foliage and woodland effects.
Apply to Selected	386 Leaf Green
Apply to Selected	87 Pale Yellow Green Sunny spring mornings.
Apply to Selected	88 Light Green Sunny spring mornings.
Apply to Selected	388 Gaslight Green 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.
Apply to Selected	89 Moss Green Useful for mood, mystery and toning.
Apply to Selected	389 Chroma Green Suggests reflected light from dense foliage. A brilliant cyc lighting color which will work for chroma-keying effects in television production.
Apply to Selected	90 Dark Yellow Green Alternate primary where higher transmission is desired.
Apply to Selected	91 Primary Green Primary green for three color primary system.
Apply to Selected	92 Turquoise Useful for mood of mystery and for toning scenery that has been spattered in blues.
Apply to Selected	392 Pacific Green Cyc Wash. Good Costume color. Magical on skin.
Apply to Selected	93 Blue Green Useful for mood of mystery and for toning scenery that has been spattered in blues.
Apply to Selected	393 Emerald Green An exagerrated green. Nearly double intensity as 93, less blue than 95.
Apply to Selected	94 Kelly Green Fantasy and unrealistic effects. Unflattering on skin tones.
Apply to Selected	95 Medium Green Used on foliage in moonlight areas or for creating a mood of mystery. Good for toning scenery painted in blues, blue-greens and greens.
Apply to Selected	395 Teal Green A medium green-blue which can be used as a mystical special effect color. Also an interesting side or backlight color in concert lighting.
Apply to Selected	96 Lime To simulate unnatural sunlight before and after a rainstorm or tornado.
Apply to Selected	97 Light Grey Neutral greys to reduce intensity without affecting color temperature.
Apply to Selected	397 Pale Grey A half stop neutral density.
Apply to Selected	98 Medium Grey Helpful in balancing brightness of lamps of different wattage.
Apply to Selected	398 Neutral Grey A very neutral filter to balance brightness of lamps of different wattage without changing the color temperature.
Apply to Selected	99 Chocolate Warms light and reduces intensity.