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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.
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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 Gypsy 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 Flesh 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 Gypsy Lavender
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.