Virtual Swatchbook

Tap or click to return.

;

Rosco Color Chart by Color and Number

This is an unofficial listing of Roscolux color filters. There is no affiliation beteen this site and Rosco. This list is composed of most of the Roscolux line. Many colors produced by Rosco are not included here. This tool is intended to allow exploration of traditional color filters.

The colors shown here are approximations. They may differ a little from the actual color from device to device.

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