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LEE Filters

Lee filters are a coated polymeric material.  Many colors are available in a High Temp version.

Standard Product:
Sheet Size: 21" by 24"

Roll Size: 48" by 25'

High Temp:
Sheet Size: 21" by 22"

Roll size: 46" by 13'

Lee Filters also has the option of quick rolls.  Sold by the inch width up to 46" at the standard length of 25' this allows you to get just the amount of gel you need with out the scrap.

Available Lee Filters Colors

Rosco

Currently the most widely used color filter range in the world.

Roscolux:
Sheet Size: 20" by 24"

Roll Size: 24" by 25'

Available Roscolux Colors

Cinegel:
Sheet Size: 20" by 24"

Roll Size: 48" by 25'

Available Cinegel Colors

   
 
 

 

Fluorescent Tube Covers

Are you looking to add a little color to your office or bar but only have fluorescent fixtures? Let Grand Stage be your resource. We have a huge range of colors available in standard T5 through T12 size lamps. You have a choice of a long life hard sleeve or a soft sleeve to slip onto your lamps and in no time at all your cool white can be any color from the Lee, Rosco, or GAM color series. We can do sleeves for any length lamp up to 8 feet.

Call your Grand Stage representative now to find out about this exciting prodcut.

 
 

Roscolux Colors

Roscolux sheets and rolls are now available for purchase on our webstore

  Roscolux is comprised of two types of plastic. More than 65% of the line is made from co-extruded polycarbonate plastic. The remainder of the line is deep dyed polyester. Sheets are 20" X 24" and rolls are 24" X 25'. Please note that the 2000 Straro colors, 3000 CalColors and 4000 colors are located with Cinegel.

How Color Filters Work
Filters create color by subtracting certain wavelengths of color. Thus, a red filter absorbs blue and green, allowing only the red wavelengths to pass. The process is subtractive, not additive, so the light source must emit a full spectrum.

The Rosco swatchbook provides detailed information on the spectral energy curve of each filter. The curve describes the wavelengths of color transmitted through each filter. For example, Roscolux 342 transmits approximately 40% of the violet and blue energy of the spectrum and 75% of the orange and red energy. It absorbs all energy in the yellow and green range.

Durability
The life of color filters depends on many variables: the color, the instrument and lamp used, the dimmer level a filter generally runs at, and the amount of time the light is running. For these reasons it is impossible to assign a "life" for each filter. However some basics knowledge and experience can help with estimates. Dark green and dark blue filters usually burn out the fastest because they absorb the most infrared energy. Absorbing the extra infrared energy causes the plastic to reach it's melting temperature faster. When darker filters are needed try choosing filters that transmit high amounts of the 700 nm range. You can find this information by looking at the Spectral Energy Distribution (S.E.D.) curve located in the swatchbook for each Roscolux color filter. Filters than transmit high levels at 700 nm may also transmit high levels in the infrared range above 700 nm.(See the Roscolux swatchbook for information on how to read S.E.D. curves.)

To prolong the life of a color filter, align your ellipsoidal lamp to a flat field focus. (Get rid of the hot spot.) You can increase the distance between the lamp and the filter by using a top hat or barn door. In extreme cases, try Rosco Heat Shield or Thermashield to prolong the life of your filters.

Never use a plastic filter directly in front of an open faced lamp. This will nearly always cause premature failure because the heat is trapped and it has nowhere to go except to the plastic filter. Always allow a suitable air gap.

How To Read An S.E.D. Curve
The spectral energy distribution curve of each Roscolux filter describes the wavelengths of color transmitted through the individual filters. For example, Roscolux #342 transmits approximately 40% of the violet and blue energy of the spectrum and 75% of the orange and red energy. It blocks all energy in the yellow and green range.

The "Trans." Percentage refers to overall light transmission that is allowed to pass through each individual filter.

Click on this icon shown next to each color filter to view its SED curve.

 
  Roscolux #00: Dempster Open White (Clear)
A durable, heat resistant polycarbonate film used in the preparation of color scrollers to allow the passage from a color to clear. (Transmission = 96%).
  Roscolux #01: Light Bastard Amber
Enhances fair skin tones. Suggests strong sunlight. (Transmission = 56%).
  Roscolux #02: Bastard Amber
Good where a tint of color is needed. Excellent for natural skin tones. (Transmission = 78%).
  Roscolux #302: Pale Bastard Amber
Very pale warm white. Perfect for enhancing the HPL lamp in a Source Four. (Transmission = 88%).
  Roscolux #03: Dark Bastard Amber
Most saturated Bastard Amber. (Transmission = 62%).
  Roscolux #303: Warm Peach
Heavier Amber-pink tint. Useful to create warm sunlight. (Transmission = 55%).
  Roscolux #04: Medium Bastard Amber
Especially useful when cross lit with a cool color. Excellent for natural sunlight. (Transmission = 66%).
  Roscolux #304: Pale Apricot
A peach amber. More yellow than 305. (Transmission = 79%).
  Roscolux #05: Rose Tint
A clean pale pink; useful as a blush for skin tones. (Transmission = 80%).
  Roscolux #305: Rose Gold
A pale blush amber for skin tones and backlight. (Transmission = 75%).
  Roscolux #06: No Color Straw
Slightly off white. Good for interiors. (Transmission = 92%).
  Roscolux #07: Pale Yellow
Double saturation of 06. (Transmission = 96%).
  Roscolux #08: Pale Gold
Warmer straw. Flattering to skin tones. (Transmission = 86%).
  Roscolux #09: Pale Amber Gold
Deep straw. Good for late afternoon sunsets or firelight. (Transmission = 74%).
  Roscolux #10: Medium Yellow
Yellow with green. Good for special effects. Unflattering in acting areas. (Transmission = 92%).
  Roscolux #310: Daffodil
A soft medium yellow. Can be used for creating naturalistic effects such as early morning sunlight or for special effects. (Transmission = 82%).
  Roscolux #11: Light Straw
Pale yellow with slight red content. Useful for candle effects. Can be used for area lighting. For bright day feeling. (Transmission = 82%).
  Roscolux #12: Straw
Greener yellow than 10. Special effects and accents. Use with caution on skin tones. (Transmission = 88%).
  Roscolux #312: Canary
Warmer than 10. A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin. (Transmission = 85%).
  Roscolux #13: Straw Tint
Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues. (Transmission = 78%).
  Roscolux #313: Light Relief Yellow
Vibrant Yellow. More red than 312. Less green than all other yellows. (Transmission = 76%).
  Roscolux #14: Medium Straw
Pale amber-higher red content than 12. Sunlight, accents, area lighting with caution to skin tones. (Transmission = 68%).
  Roscolux #15: Deep Straw
Warm golden amber with some green. Useful for special effects-candlelight, firelight. (Transmission = 65%).
  Roscolux #16: Light Amber
Excellent area light. Light pink-amber tint. Safe for most light skin tones. (Transmission = 68%).
  Roscolux #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. (Transmission = 58%).
  Roscolux #17: Light Flame
Heavier pink-amber tint. Useful for dance. Especially useful when balanced with a cool color. Good general warm tint in striplights. (Transmission = 56%).
  Roscolux #317: Apricot
A rosy amber which produces a romantic sunset color. Useful as sidelight or backlight color. (Transmission = 51%)
  Roscolux #18: Flame
Warm pinkish amber. Afternoon sunset. Good sidelight. (Transmission = 56%).
  Roscolux #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. (Transmission = 52%).
  Roscolux #19: Fire
Strong red amber. Excellent for fire effects. (Transmission = 20%).
  Roscolux #20: Medium Amber
Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values. (Transmission = 54%).
  Roscolux #21: Golden Amber
Useful for amber cyc light and late sunsets. (Transmission = 43%).
  Roscolux #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. (Transmission = 39%).
  Roscolux #22: Deep Amber
Very useful as a backlight. Dramatic specials and firelight. (Transmission = 26%).
  Roscolux #23: Orange
Provides a romantic sunlight through windows for evening effects. (Transmission = 32%).
  Roscolux #24: Scarlet
Very deep amber. Red with a touch of blue. (Transmission = 22%).
  Roscolux #324: Gypsy Red
Vibrant orange-red. Helps red and orange scenery pop. (Transmission = 31%).
  Roscolux #25: Orange Red
Good for firelight or special effects. Use when red with higher yellow content is needed. (Transmission = 14%).
  Roscolux #325: Henna Sky
Toasted red-amber color. Useful in re-creating setting sun or as a dramatic cyc. (Transmission = 18%).
  Roscolux #26: Light Red
Vibrant red. Good alternative primary. (Transmission = 12%).
  Roscolux #27: Medium Red
Good red primary for use with three-color light primary systems in cyclorama lighting, footlights, and border lights. (Transmission = 4%).
  Roscolux #30: Light Salmon Pink
Excellent for general area washes. Gives overall warming effect to skin tones. (Transmission = 44%).
  Roscolux #31: Salmon Pink
General wash. Good for follow spots. (Transmission = 46%).
  Roscolux #331: Shell Pink
Warmer and lighter than 31. Good for fair skin tones and to emphasize romance. (Transmission = 68%).
  Roscolux #32: Medium Salmon Pink
Deepest of the salmon pinks. (Transmission = 28%).
  Roscolux #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. (Transmission = 38%).
  Roscolux #33: No Color Pink
A pale almost colorless pink. (Transmission = 65%).
  Roscolux #333: Blush Pink
A pink tint that is excellent for most skin tones. A good color for warm area lighting. Lighter than 33. (Transmission = 71%).
  Roscolux #34: Flesh Pink
Useful for bright musicals. Creates a happy atmosphere. (Transmission = 45%).
  Roscolux #35: Light Pink
Similar to 33, but slightly deeper. (Transmission = 66%).
  Roscolux #36: Medium Pink
Good for general washes and cross lighting. (Transmission = 46%).
  Roscolux #336: Billington Pink
(Transmission = 48%).
  Roscolux #37: Pale Rose Pink
Blue Pink, Use in general washes and toning. (Transmission = 56%).
  Roscolux #337: True Pink
A cool pink excellent for washes and general illumination. A good follow spot color. A component of early morning sunrise. (Transmission = 55%).
  Roscolux #38: Light Rose
Similar uses as 37, but with greater saturation. (Transmission = 49%).
  Roscolux #339: Broadway Pink
A deep, saturated pink created for musicals and specials. Excellent for down and backlighting. (Transmission = 15%).
  Roscolux #39: Skelton Exotic Sangria
A sultry, deep purple. Good for musicals or concert lighting. Excellent special effects color. (Transmission = 10%).
  Roscolux #40: Light Salmon
Similar uses to 23 but a bluer color. (Transmission = 34%).
  Roscolux #41: Salmon
Light orange with high blue content. (Transmission = 24%).
  Roscolux #42: Deep Salmon
More red than 342. (Transmission = 8%).
  Roscolux #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. (Transmission = 16%).
  Roscolux #43: Deep Pink
Rich, hot pink. Electric in effect with rich saturation. (Transmission = 28%).
  Roscolux #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. (Transmission = 33%).
  Roscolux #44: Middle Rose
Musical pink. Lush accents. Very versatile color. (Transmission = 26%).
  Roscolux #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. (Transmission = 21%).
  Roscolux #45: Rose
Use on scenery and background effects. Adds tone and modeling to scenery. (Transmission = 8%).
  Roscolux #46: Magenta
Similar uses as 45 where more saturation is needed. (Trans.= 6%). (Transmission = 6%).
  Roscolux #346: Tropical Magenta
(Transmission = 22%).
  Roscolux #47: Light Rose Purple
Good for eerie or dramatic effects. Beautiful backlight color. (Transmission = 16%).
  Roscolux #347: Belladonna Rose
Powerful magenta-purple. Good effects filter for dance. (Transmission = 6%).
  Roscolux #48: Rose Purple
Pale evening color. Excellent for backlight. (Transmission = 16%).
  Roscolux #348: Purple Jazz
A dusky purple. Good for simulating purple neon or old night club atmosphere. (Transmission = 14%).
  Roscolux #49: Medium Purple
Darkest of the magenta purple range. (Transmission = 4%).
  Roscolux #349: Fisher Fuchsia
A medium fuchsia good for special effects. An interesting backlight or accent color. (Transmission = 11%).
  Roscolux #50: Mauve
Subdued sunset effect. Useful in backlights. To create seedy atmosphere. (Transmission = 14%).
  Roscolux #51: Surprise Pink
Touch of color when white light is not desirable. (Transmission = 54%).
  Roscolux #351: Lavender Mist
(Transmission = 61%).
  Roscolux #52: Light Lavender
Excellent for general area or border light washes. It is a basic followspot color. (Transmission = 26%).
  Roscolux #53: Pale Lavender
Use when a touch of color is needed. (Transmission = 64%).
  Roscolux #353: Lilly Lavender
Same intensity as 55 with more red content. (Transmission = 29%).
  Roscolux #54: Special Lavender
Same as 53, but warmer. Useful for beams of realistic moonlight. (Transmission = 50%).
  Roscolux #55: Lilac
Same as 53, but cooler. (Transmission = 37%).
  Roscolux #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. (Transmission = 20%).
  Roscolux #56: Gypsy Lavender
Highly saturated, good for side and backlighting and non-realistic effect. (Transmission = 4%).
  Roscolux #356: Middle Lavender
A lavender halfway between 52 and 57 in hue and value. Useful for general illumination and side-lighting. (Transmission = 27%).
  Roscolux #57: Lavender
Excellent backlight. Gives good visibility without destroying night illusions. (Transmission = 24%).
  Roscolux #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. (Transmission = 5%).
  Roscolux #58: Deep Lavender
Excellent back light. Enhances dimensionality. (Trans.= 10%). (Transmission = 10%).
  Roscolux #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. (Transmission = 5%).
  Roscolux #59: Indigo
The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres. (Transmission = 2%).
  Roscolux #359: Medium Violet
Midnight and moonlight illusions. Enforces mysterious mood. Useful for evening cyc wash. (Transmission = 9%).
  Roscolux #60: No Color Blue
Helps maintain white light when dimmer is at low intensity. (Transmission = 62%).
  Roscolux #360: Clearwater
The slightest blue tint. Excellent for eliminating amber shift when lights are running low on a dimmer. Good for cool area light. (Transmission = 52%).
  Roscolux #61: Mist Blue
Excellent for general area washes. Very light cool tint of blue. (Transmission = 66%).
  Roscolux #361: Hemsley Blue
A sharp cold blue that stays clean when dimmed. (Transmission = 18%).
  Roscolux #62: Booster Blue
Helps maintain white light when dimmer is at low intensity. (Transmission = 54%).
  Roscolux #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. (Transmission = 32%).
  Roscolux #63: Pale Blue
Good for creating an overcast look and feeling. (Transmission = 56%).
  Roscolux #363: Aquamarine
A pale blue-green color. Can be used for area lighting. A soft backlight color. (Transmission = 52%).
  Roscolux #64: Light Steel Blue
Useful for beams of realistic moonlight. (Transmission = 26%).
  Roscolux #364: Blue Bell
A clean light red blue. Creates naturalistic daylight fill color. Good cool area light. (Transmission = 32%).
  Roscolux #65: Daylight Blue
Useful for achieving depressed moods and dull skies. (Transmission = 35%).
  Roscolux #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. (Transmission = 36%).
  Roscolux #66: Cool Blue
A pale green shade of blue; good for area or general washes. Creates an icy feeling on stage. (Transmission = 67%).
  Roscolux #366: Jordan Blue
More green than 65. A crisp light blue-green. (Transmission = 32%).
  Roscolux #67: Light Sky Blue
Excellent sky color. Useful for cyc and border lights. (Transmission = 26%).
  Roscolux #367: Slate Blue
Clean medium blue. Good for sky color or moonlight. (Transmission = 20%).
  Roscolux #68: Parry Sky Blue
Excellent for early morning sky tones. Popular among designers for cyc and borders. (Transmission = 14%).
  Roscolux #368: Winkler Blue
A silvery blue, used for front light and moonlight. (Transmission = 16%).
  Roscolux #69: Brilliant Blue
Used for dramatic moonlight effects. (Transmission = 18%).
  Roscolux #369: Tahitian Blue
Slightly more green than 69. (Transmission = 22%).
  Roscolux #70: Nile Blue
Useful for very light midday skies. Occasionally used for general cool tint. (Transmission = 45%).
  Roscolux #370: Italian Blue
Good to create eerie and mysterious effects. Good for night time water effects. (Transmission = 31%).
  Roscolux #71: Sea Blue
Occasionally used for general cool tint and non-realistic washes. (Transmission = 30%).
  Roscolux #371: Theatre Booster 1
Less red than 3202. (Transmission = 35%).
  Roscolux #72: Azure Blue
A clean slightly green blue. Good moonlight fill. (Transmission = 44%).
  Roscolux #372: Theatre Booster 2
Slightly lighter and less red than 3204. (Transmission = 55%).
  Roscolux #73: Peacock Blue
Good for fantasy, moonlight and water effects. (Transmission = 28%).
  Roscolux #373: Theatre Booster 3
Slightly lighter and less red than 3208. (Transmission = 72%).
  Roscolux #74: Night Blue
Fantasy moonlight. Crisp and beautiful. Popular as a backlight or sidelight in contrast to area light. (Transmission = 4%).
  Roscolux #374: Sea Green
For enhancing water scenes or deep sea environments. Greener than 73. (Transmission = 26%).
  Roscolux #75: Twilight Blue
Less green & cresper than 76. (Transmission = 11%).
  Roscolux #375: Cerulean Blue
A crisp, clean blue-green. Useful as a water effect or as a sidelight for dance. (Transmission = 32%).
  Roscolux #76: Light Green Blue
Distinctive greenish blues. Useful for romantic moonlight. (Transmission = 9%).
  Roscolux #376: Bermuda Blue
A soothing green blue. More blue than 76. A good conventional moonlight color. Interesting tonal color. (Transmission = 6%).
  Roscolux #77: Green Blue
Distinctive greenish blues. Useful for romantic moonlight. (Transmission = 9%).
  Roscolux #377: Iris Purple
Medium neutral lavendar. Good wash light. (Transmission = 11%).
  Roscolux #78: Trudy Blue
A rich clean red blue that warms to lavender when dimmed. (Transmission = 19%).
  Roscolux #378: Alice Blue
A rich clean red blue that warms to lavender when dimmed. (Transmission = 15%).
  Roscolux #79: Bright Blue
Cool clear bright blue. (Transmission = 8%).
  Roscolux #80: Primary Blue
Primary blue. For use with three color light primary system in cyc lighting. (Transmission = 9%).
  Roscolux #81: Urban Blue
Very cold brittle feeling. (Transmission = 10%).
  Roscolux #381: Baldassari Blue
Saturated color created for Lighting Designer Mike Baldassari - It's Double #3220 Double Blue (Transmission = 6%).
  Roscolux #82: Surprise Blue
Deep rich blue with slight amount of red. (Transmission = 6%).
  Roscolux #382: Congo Blue
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 = 1%).
  Roscolux #83: Medium Blue
Good for non-realistic night skies. (Transmission = 4%).
  Roscolux #383: Sapphire Blue
A deep romantic blue on the red side. (Transmission = 4%).
  Roscolux #84: Zephyr Blue
A true blue with excellent punch for bright skies. Lovely contrast to pale blues; adds coldness to shadows. (Transmission = 14%).
  Roscolux #384: Midnight Blue
An intense red-blue. Deeper than 83 with a little more red. (Transmission = 2%).
  Roscolux #85: Deep Blue
Deeply saturated blue with a hint of red. (Transmission = 3%).
  Roscolux #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. (Transmission = 4%).
  Roscolux #86: Pea Green
Good for dense foliage and woodland effects. (Transmission = 56%).
  Roscolux #386: Leaf Green
(Transmission = 32%).
  Roscolux #87: Pale Yellow Green
Sunny spring mornings. (Transmission = 85%).
  Roscolux #88: Light Green
Sunny spring mornings. (Transmission = 82%).
  Roscolux #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. (Transmission = 76%).
  Roscolux #89: Moss Green
Useful for mood, mystery and toning. (Transmission = 45%).
  Roscolux #389: Chroma Green
Suggests reflected light from dense foliage. A brilliant cyc lighting color which will work for chroma-keying effects in television production (Transmission = 40%).
  Roscolux #90: Dark Yellow Green
Alternate primary where higher transmission is desired. (Transmission = 13%).
  Roscolux #91: Primary Green
Primary green for three color primary system. (Transmission = 7%).
  Roscolux #92: Turquoise
Useful for mood of mystery and for toning scenery that has been spattered in blues. (Transmission = 59%).
  Roscolux #392: Pacific Green
Cyc Wash. Good Costume color. Magical on skin. (Transmission = 20%).
  Roscolux #93: Blue Green
Useful for mood of mystery and for toning scenery that has been spattered in blues. (Transmission = 35%).
  Roscolux #393: Emerald Green
An exagerrated green. Nearly double intensity as 93, less blue than 95. (Transmission = 14%).
  Roscolux #94: Kelly Green
Fantasy and unrealistic effects. Unflattering on skin tones. (Transmission = 25%).
  Roscolux #95: Medium Blue 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. (Transmission = 15%).
  Roscolux #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. (Transmission = 13%).
  Roscolux #96: Lime
To simulate unnatural sunlight before and after a rainstorm or tornado. (Transmission = 98%).
  Roscolux #97: Light Grey
Neutral greys to reduce intensity without affecting color temperature. (Transmission = 50%).
  Roscolux #397: Pale Grey
A half stop neutral density. (Transmission = 70%).
  Roscolux #98: Medium Grey
Helpful in balancing brightness of lamps of different wattage. (Transmission = 25%).
  Roscolux #398: Neutral Grey
A very neutral filter to balance brightness of lamps of different wattage without changing the color temperature. (Transmission = 40%).
  Roscolux #99: Chocolate
Warms light and reduces intensity. (Transmission = 35%).
  Roscolux #100: Frost
Frost. Changes ellipsoidal to fresnel beam pattern. (Transmission not available).
  Roscolux #101: Light Frost
Offers softened beam.Changes ellipsoidal into flood or scoop. (Transmission not available).
  Roscolux #102: Light Tough Frost
Changes ellipsoidal into flood or scoop. (Transmission not available).
  Roscolux #103: Tough Frost
Has twin qualities of wide diffusion and warm center. (Transmission not available).
  Roscolux #104: Tough Silk
Creates a slash of light for stretching light along stairs, tables, cycs, etc. Diffuses while maintaining compactness of beam. (Transmission not available).
  Roscolux #105: Tough Spun
Good on scoops for cyc lighting. (Transmission not available).
  Roscolux #106: Light Tough Spun
Removes lens shadows. (Transmission not available).
  Roscolux #111: Tough Rolux
Densest diffusion of the series. Spreads the light almost 1800. (Transmission not available).
  Roscolux #112: Opal Tough Frost
Lighter than 100-103. An excellent diffuser for HMI, CID and CSI sources softening the beam slightly while maintaining excellent transmission. (Transmission not available).
  Roscolux #113: Matte Silk
Good for striplights and specials. (Transmission not available).
  Roscolux #114: Hamburg Frost
A very light frost; good on followspots and PAR lamps. (Transmission not available).
  Roscolux #115: Light Tough Rolux
(Transmission not available).
  Roscolux #116: Tough White Diffusion
A range of diffusion materials adapted from cinematography-used for softening the shadow of the beam while maintaining a relatively high color temperature because of the use of ultra-white pigments in the manufacturing process. (Transmission not available).
  Roscolux #117: Tough 1/2 White Diffusion
A range of diffusion materials adapted from cinematography-used for softening the shadow of the beam while maintaining a relatively high color temperature because of the use of ultra-white pigments in the manufacturing process. (Transmission not available).
  Roscolux #118: Tough 1/4 White Diffusion
A range of diffusion materials adapted from cinematography-used for softening the shadow of the beam while maintaining a relatively high color temperature because of the use of ultra-white pigments in the manufacturing process. (Transmission not available).
  Roscolux #119: Light Hamburg Frost
Lighter than 114. Recommended for followspots and slight diffuse focus for ellipsoldals. (Transmission not available).
  Roscolux #120: Red Diffusion
Combine a color with Matte Diffusion. Aids in broad, even illumination of cycs and drops. (Transmission not available).
  Roscolux #121: Blue Diffusion
Combine a color with Matte Diffusion. Aids in broad, even illumination of cycs and drops. (Transmission not available).
  Roscolux #122: Green Diffusion
Combine a color with Matte Diffusion. Aids in broad, even illumination of cycs and drops. (Transmission not available).
  Roscolux #124: Red Cyc Silk
Combine a color with 104 Tough Silk. (Transmission not available).
  Roscolux #125: Blue Cyc Silk
Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops. (Transmission not available).
  Roscolux #126: Green Cyc Silk
Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops. (Transmission not available).
  Roscolux #127: Amber Cyc Silk
A secondary color combined with 104 Tough Silk. (Transmission not available).
  Roscolux #132: Quarter Hamburg Frost
(Transmission not available).
  Roscolux #140: Subtle Hamburg Frost
(Transmission not available).
  Roscolux #160: Light Tough Silk
Retains the diffusion properties of 104 but with less light loss. (Transmission not available).
  Roscolux #162: Light Opal
A lighter version on the popular 112 Opal Tough Frost. (Transmission not available).
  Roscolux #163: Powder Frost
A good medium cosmetic diffuser. (Transmission not available).
 
 

Cinegel Colors

Cinegel sheets and rolls are now available for purchase on our webstore!

 

The Rosco Cinegel range includes over 200 tools for controlling light, including color corrections, diffusions, our patented CalColor System, The Storaro Selection and Cinelux. Since it's introduction in 1970, Cinegel has continually developed and grown to meet the working needs of professionals working behind the camera. In 1974, Rosco was honored with an Academy Award for developing the Cinegel range and again in 1998 for the development of the CalColor range of calibrated colors for camera.

All of the filters in the Cinegel range are available in 20"x24" sheets and 48"x25' rolls, unless otherwise noted. The Cinegel range of color correction and color effects filters are manufactured using deep-dyed polyester for heat stability & superior color transmission.

Click on this icon shown next to each color filter to view its Spectral Energy Distribution curve. Options below are sorted by swatchbook order. For more information please visit Rosco.com for additioanl information, color applications and product data sheets.

 
  Cinegel #3202: Full Blue (CTB)
Mired Shift -131 Standard Tungsten to Daylight dorrection. For converting 3200K sources to normal daylight. Deep-dyed base. (Transmission = 36%). (FStop: -1.5s)
  Cinegel #3203: Three-Quarter Blue (3/4 CTB)
Mired Shift -100 Boosts 3200K sources to 4700K. Used when a partial conversion is desired, or when daylight is below 5000K. Deep-dyed base. (Transmission = 41%). (FStop: -1.3s)

Cinegel #3204: Half Blue (1/2 CTB)
Mired Shift -68 Boosts 3200K sources to 4100K. A partial conversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps and yellowed soft lights. Deep-dyed base. (Transmission = 52%). (FStop: -0.9s)

Cinegel #3206: Third Blue (1/3 CTB)
Mired Shift -49 Boosts 3200K sources to 3800K. A partial conversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps and yellowed soft lights. Deep-dyed base. (Transmission = 64%). (FStop: -0.6s)

Cinegel #3208: Quarter Blue (1/4 CTB)
Mired Shift -30 Boosts 3200K sources to 3500K. A partial conversion to compensate for voltage reduction, or to boost aging HMI lamsp or household incandescent sources. Deep-dyed base. (Transmission = 74%). (FStop: -0.4s)

Cinegel #3216: Eighth Blue (1/8 CTB)
Mired Shift -12 Boosts 3200K sources to 3300K. A partial conversion to compensate for voltage reduction, or to boost aging HMI lamsp or household incandescent sources. Deep-dyed base. (Transmission = 81%). (FStop: -0.3s)
  Cinegel #3220: Double Blue (2x CTB)
Mired Shift -260 Boosts 2800K sources to nominal 10,000K. An over-correction filter designed for special applications. Deep-dyed base. (Transmission = 10%). (FStop: -3.3s)
  Cinegel #3407: Roscosun CTO
Mired Shift +167 Converts 5500K daylight to 2900K. Preferred either for a warmer look or when daylight is over 6000K. Optically clear. (Transmission = 47%). (FStop: -1.1s)
  Cinegel #3411: Roscosun 3/4 CTO
Mired Shift +131 Standard correction to convert 5500K daylight to 3200K. Deep dyed base. (Transmission = 58%). (FStop: -0.8s)
  Cinegel #3408: Roscosun 1/2 CTO
Mired Shift +81 Converts 5500K daylight to 3800K. Used when partial correction is desired or when daylight is below 4500K. Optically clear. (Transmission = 73%). (FStop: -0.5s)
  Cinegel #3409: Roscosun 1/4 CTO
Mired Shift + 42 Converts 5500K daylight to 4500K. Used when slight correction is desired or when daylight is below 4000K. Optically clear. (Transmission = 81%). (FStop: -0.3s)
  Cinegel #3410: Roscosun 1/8 CTO
Mired Shift +20 Converts 5500K daylight to 4900K. Used when a very slight warming correction is desired. Deep-dyed base. (Transmission = 92%). (FStop: -0.1s)
  Cinegel #3420: Roscosun Double CTO
Mired Shift +320 Converts 10,000K daylight to 2400K. An overcorrection filter designed for special applications. Deep-dyed base. (Transmission = 23%). (FStop: -2.1s)
  Cinegel #3441: Full Straw CTS
A yellower (or less red) version of Full CTO. Converts 5500K daylight to 2900K. Deep-dyed base. (Transmission = 50%). (FStop: -1.0s)
  Cinegel #3442: Half Straw 1/2 CTS
A yellower (or less red) version of 1/2 CTO. Converts 5500K daylight to 3800K. Deep-dyed base. (Transmission = 73%). (FStop: -0.5s)
  Cinegel #3443: Quarter Straw 1/4 CTS
A yellower (or less red) version of 1/4 CTO. Converts 5500K daylight to 4500K. Deep-dyed base. (Transmission = 81%). (FStop: -0.3s)
  Cinegel #3444: Eighth Straw 1/8 CTS
A yellower (or less red) version of 1/8 CTO. Converts 5500K daylight to 4900K. Deep-dyed base. (Transmission = 92%). (FStop: -0.1s)
  Cinegel #3415: Rosco N.15
Mired Shift N/A Reduces incident light level by 1/2 stop. Extra-wide 60 in. Optically clear (Transmission = 70%). (FStop: -0.5s)
  Cinegel #3402: Rosco N.3
Mired Shift N/A Reduces incident light by one stop. Extra-wide 60 in. Optically clear. (Transmission = 50%). (FStop: -1.0s)
  Cinegel #3403: Rosco N.6
Mired Shift N/A Reduces incident light level by two stops. Extra-wide 60 in. Optically clear (Transmission = 25%). (FStop: -2.0s)

 

Cinegel #3404: Rosco N.9
Mired Shift N/A Reduces incident light level by three stops. Extra-wide 60 in. Optically clear. (Transmission = 12%). (FStop: -3.0s)
Cinegel #3401: Roscosun 85
Mired Shift +131 Standard window correction to convert 5500K daylight to 3200K. Extra-wide 60 in. Optically clear. (Transmission = 58%). (FStop: -0.8s)
  Cinegel #3405: Roscosun 85N3
Combines the effect of the 85 and N.3 filters. Extra-wide 60 in. Optically clear. (Transmission = 33%). (FStop: -1.6s)
  Cinegel #3406: Roscosun 85N6
Combines the effect of the 85 and N.6 filters. Extra-wide 60 in. Optically clear. (Transmission = 17%). (FStop: -2.6s)
    Cinegel #3421: Black Scrim
A perforated material that is black on both sides. Used as a Neutral Density Window Scrim. Reduces incident light level 2 stops. (48" X 25') (Transmission not available). (FStop: -2.0s)
    Cinegel #3423: Cinescreen
A woven material similar to black scrim. Used as a neutral denisty windowscrim. Reduces incident light level 2 stops. Extra-wide 60 in. (Transmission not available). (FStop: -2.0s)
  Cinegel #3304: Tough Plusgreen/Windowgreen
Mired Shift N/A Adds green to natural and artificial daylight sources to balance with U.S. Cool White or Daylight type fluorescents. To be used with overall correction at the lens or in the lab. Deep-dyed base. Equivalent to CC30 Green. (Transmission = 76%). (FStop: -0.4s)
  Cinegel #3315: Tough 1/2 Plusgreen
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge lamps. Equivalent to CC15 Green. (Transmission = 90%). (FStop: -0.2s)
  Cinegel #3316: Tough 1/4 Plusgreen
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge lamps. Equivalent to CC075 Green. (Transmission = 92%). (FStop: -0.1s)
  Cinegel #3317: Tough 1/8 Plusgreen
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge sources. Equivalent to CC035 Green. (Transmission = 93%). (FStop: -0.1s)
  Cinegel #3308: Tough Minusgreen
Converts U.S. Cool White or Daylight type fluorescent lamps to 5500K photographic daylight by removing the excess green. Deep-dyed base. Equivalent to CC30 Magenta. (Transmission = 55%). (FStop: -0.9s)
  Cinegel #3309: Tough 3/4 Minusgreen
Reduces green output from fluorescent and other discharge sources. Equivalent to CC22.5 Magenta. (Transmission = 65%). (FStop: -0.6s)
  Cinegel #3313: Tough 1/2 Minusgreen
Reduces the green output from fluorescents and other discharge sources. Deep-dyed base. Equivalent to CC15 Magenta. (Transmission = 71%). (FStop: -0.5s)
  Cinegel #3314: Tough 1/4 Minusgreen
Reduces the green output from fluorescents and other discharge sources. Deep-dyed base. Equivalent to CC075 Magenta. (Transmission = 81%). (FStop: -0.3s)
  Cinegel #3318: Tough 1/8 Minusgreen
Reduces green output from fluorescents and other discharge sources. Equivalent to CC035 Magenta. (Transmission = 89%). (FStop: -0.2s)
  Cinegel #3310: Fluorofilter
Converts U.S. Cool White or Daylight type fluorescent lamps to 3200K photographic tungsten and removes the excess green. Available in rolls, sheets or sleeves. Deep-dyed base. (Transmission = 3%). (FStop: -1.5s)
  Cinegel #3150: Industrial Vapor
Converts standard tungsten to sodium vapor. (Transmission = 38%). (FStop: -1.4s)
  Cinegel #3152: Urban Vapor
Creates the visual reddish-orange appearance of sodium vapor street lights without the green found in sodium vapor sources. (Transmission = 29%). (FStop: -1.8s)
  Cinegel #3006: Tough Spun
A slight diffuser. Softens edge, yet beam shape is maintained. An excellent general purpose diffuser. Replaces "Spun Glass". Tough, heat resistant base. (Transmission not available).
  Cinegel #3007: Light Tough Spun
The most popular diffuser. Similar characteristics to Tough Spun, but less dense. Tough, heat resistant base. (Transmission not available).
  Cinegel #3022: Quarter Tough Spun
Similar characteristics to Light Tough Spun, but less dense. Tough, heat resistant base. (Transmission not available).
  Cinegel #3008: Tough Frost
A medium diffuser that spreads the beam, yet maintains a center. Tough, heat resistant base. (Transmission not available).
  Cinegel #3009: Light Tough Frost
Similar characteristics to Tough Frost, but less dense. Tough, heat resistant base. (Transmission not available).
  Cinegel #3010: Opal Tough Frost
The quintessential medium diffuser and our most popular tough diffusion material. (Transmission not available).
  Cinegel #3020: Light Opal Tough Frost
Our most subtle diffusion material. Also great for use in the background of a shot to soften the image and alter depth-of-field. (Transmission not available).
  Cinegel #3040: Powder Frost
A slight to medium diffuser that softens and broadens the beam, yet retains general beam character. Good transmission and whiteness. Excellent for softening harsh edges or enclosed-arc point sources (HMI, Xenon). (Transmission not available).
  Cinegel #3026: Tough White Diffusion (216)
A moderate diffuser with properties similar to tracing paper. Creates an even field of soft light with minimal color temperature shift. Tough, heat resistant base. (Transmission not available).
  Cinegel #3027: Tough 1/2 White Diffusion (1/2 216)
Similar characteristics to Tough White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).
  Cinegel #3028: Tough 1/4 White Diffusion (1/4 216)
Similar characteristics to Tough 1/2 White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).
  Cinegel #3000: Tough Rolux
A dense diffuser that creates an even field of soft, "shadowless" light. Excellent for combining multiple lighting fixtures into a single, large area source. Tough, heat resistant base. (Transmission not available).
  Cinegel #3001: Light Tough Rolux
Similar characteristics to Tough Rolux, but less dense. Tough, heat resistant base. (Transmission not available).
    Cinegel #3030: Grid Cloth
A reinforced diffusion material that is similar to the silk used in butterflies and overheads. Ideal for tenting and large area diffusion. Can be sewn and grommetted. (Transmission not available).
    Cinegel #3032: Light Grid Cloth
Similar characteristics to Grid Cloth, but less dense. Can be sewn and grommetted. (Transmission not available).
    Cinegel #3034: 1/4 Grid Cloth
Similar characteristics to Grid Cloth, but less dense. Can be sewn and grommetted. (Transmission not available).
    Cinegel #3060: Silent Grid Cloth
A reinforced, woven diffusion material. Similar properties to Grid Cloth (#3030), but quiet when used outdoors in windy conditions. Can be sewn and grommetted. (60" x 20' rolls) (Transmission not available).
    Cinegel #3062: Silent Light Grid Cloth
A reinforced, woven diffusion material. Similar properties to Light Grid Cloth (#3032), but quiet when used outdoors in windy conditions. Can be sewn and grommetted. (60" x 20' rolls) (Transmission not available).
    Cinegel #3064: Silent 1/4 Grid Cloth
A reinforced woven diffusion material. Similar properties to 1/4 Grid Cloth (#3034), but quiet when used outdoors in windy conditions. Can be sewn or grommeted. Extra wide 60 in. (60" x 20' rolls) (Transmission not available).
    Cinegel #3071: Full Blue Grid Cloth
A reinforced diffusion material that raises the Kelvin temperature of a light source. (Transmission not available).
    Cinegel #3072: Half Blue Silent Dyed Grid Cloth
Reinforced diffusion material that will raise Kelvin temperature of a light source. (Transmission not available).
    Cinegel #3073: 1/4 Blue Grid Cloth
A reinforced diffusion material that raises the Kelvin temperature of a light source. (Transmission not available).
    Cinegel #3081: Full Straw Grid Cloth
A reinforced diffusion material that lowers the Kelvin temperature of a light source. (Transmission not available).
    Cinegel #3082: Half Straw Silent Dyed Grid Cloth
Reinforced diffusion material that will lower the Kelvin temperature of a Light source. (Transmission not available).
    Cinegel #3083: 1/4 Straw Grid Cloth
A reinforced diffusion material that lowers the Kelvin temperature of a light source. (Transmission not available).
    Cinegel #3090: Moonlight Silent Dyed Grid Cloth
A reinforced diffusion that, when placed in front of an HMI light, creates a soft moonlight effect. Also can be use on tungsten lights as a correction to match cool white fluorescent. (Transmission not available).
    Cinegel #3029: Silent Frost
A relatively dense diffuser that creates a smooth field of soft, "shadowless" light. Excellent for frames and overheads. Particularly useful outdoors when wind causes a noise problem with other plastic diffusers. (Transmission not available).
    Cinegel #3014: Hilite
A moderate diffuser that offers high transmission with minimal color temperature shift. Ideal for tenting or large area diffusion. Can be custom welded into largr panels. (Transmission not available).
    Cinegel #3002: Soft Frost
A relatively dense diffuser that creates an even field of soft, "shadowless" light. Excellent for combining multiple lights into a single, large area source. (Transmission not available).
    Cinegel #3004: Half Density Soft Frost
Similar characteristics to Soft Frost, but less dense. (Transmission not available).
  Cinegel #3011: Tough Silk
A medium diffuser with directional properties. Spreads beam to create a wash for eliminating the scallop effect created by light spaces and extreme lighting angles. (Transmission not available).
  Cinegel #3015: Light Tough Silk
Similar characteristics to Tough Silk, but less dense. (Transmission not available).
  Cinegel #3114: Tough UV Filter
Mired Shift +8 A virtually clear filter that absorbs 90% of UV wavelengths below 390 nm. Absorbs excess UV output of standard fluorescent bulbs and HMI with minimal color temperature shift Deep-dyed base. (Transmission = 94%). (FStop: -0.1s)
  Cinegel #3107: Tough Y-1
Mired Shift +45 A pale straw filter standard in U.S. for use on HMI or white flame arcs to absorb UV and reduce Kelvin for daylight balance. Deep-dyed base. (Transmission = 93%). (FStop: -0.1s)
  Cinegel #3134: Tough MT 54
Mired Shift +35 A straw correction for white flame arcs and HMI. Deep-dyed base. (Transmission = 83%). (FStop: -0.3s)
  Cinegel #3106: Tough MTY
Mired Shift +131 A single filter combining MT2 and Y-1 for correcting 5500K white flame arcs and HMI to 3200K. Deep-dyed base. (Transmission = 57%). (FStop: -0.8s)
  Cinegel #3102: Tough MT2
Mired Shift +110 Used in combination with Y-1 for correcting 5500K white flame arcs and HMI to 3200K. Also used as an amber conversion filter for arcs and HMI. Deep-dyed base. (Transmission = 66%). (FStop: -0.6s)
    Cinegel #3801: Roscoflex M
A specular mirror surface for long throw reflectors or as a relay mirror to reflect the sun into a second reflector board. Tough, durable base. (Transmission not available).
    Cinegel #3802: Roscoflex H
Matches the reflective characteristics of the traditional "hard" side of a reflector board. For long throw or situations requiring strongly directed light. Tough, durable base. (Transmission not available).
    Cinegel #3803: Roscoflex S
Matches the reflective characteristics of the traditional "soft" leaf side of a reflector board. For short to medium throws and moderately wide coverage. Tough, durable base. (Transmission not available).
    Cinegel #3804: Roscoflex SS
A "supersoft" reflector that produces a wider coverage at shorter distances than the Roscoflex S. Tough, durable base. (Transmission not available).
    Cinegel #3805: Roscoflex G
A soft reflector combined with a warm gold tint. Useful for creating an early morning or late afternoon appearance. Tough, durable base. (Transmission not available).
    Cinegel #3812: Featherflex S/G
Virtually weightless reflector material that conforms to any shape. Useful to reflect light in tight spaces. Can be crumpled for a softer effect. Reversible silver or gold. (Transmission not available).
    Cinegel #3813: Thin Mirror - Silver
Virtually weightless silver mirror material that conforms to any shape. Tough, durable base. (Transmission not available).
    Cinegel #3814: Thin Mirror - Gold
Virtually weightless gold mirror material that conforms to any shape. Tough, durable base. (Transmission not available).
    Cinegel #3809: Roscoscrim
A perforated material with a metalized silver side that when used as window scrim helps reflect radiated heat. Roscoscrim is also very useful as a reflector in high wind locations. (Transmission not available).
    Cinegel #3840: Cinebounce White/Black
A double-sided opaque grid material. Black side for negative fill applications. White side for soft bounce effect, comparable to bead board or show card. Extra-wide 60 in. (Transmission not available).
  Cinegel #4215: 15 Blue
Photographic lighting filter equal to CC15B. Enhances blue transmission by effectively reducing green and red exposure by 1/2 stop. Heat resistant base. Deep dyed. (Transmission = 57%). (FStop: -0.8)
  Cinegel #4230: 30 Blue
Photographic lighting filter equal to CC30B. Enhances blue transmission by effectively reducing green and red exposure by 1 stop. Heat resistant base. Deep dyed. (Transmission = 42%). (FStop: -1.3)
  Cinegel #4260: 60 Blue
Photographic lighting filter equal to CC60B. Enhances blue transmission by effectively reducing green and red exposure by 2 stops. Heat resistant base. Deep dyed. (Transmission = 24%). (FStop: -2.1)
  Cinegel #4290: 90 Blue
Photographic lighting filter equal to CC90B. Enhances blue transmission by effectively reducing green and red exposure by 3 stops. Heat resistant base. Deep dyed. (Transmission = 15%). (FStop: -2.8)
  Cinegel #4307: 7 Cyan
Photographic lighting filter equal to CC07C. Enhances blue and green transmission by effectively reducing red exposure by 1/4 stop. Heat resistant base. Deep dyed. (Transmission = 79%). (FStop: -0.4)
  Cinegel #4315: 15 Cyan
Photographic lighting filter equal to CC15C. Enhances blue and green transmission by effectively reducing red exposure by 1/2 stop. Heat resistant base. Deep dyed. (Transmission = 72%). (FStop: -0.5)
  Cinegel #4330: 30 Cyan
Photographic lighting filter equal to CC30C. Enhances blue and green transmission by effectively reducing red exposure by 1 stop. Heat resistant base. Deep dyed. (Transmission = 63%). (FStop: -0.7)
  Cinegel #4360: 60 Cyan
Photographic lighting filter equal to CC60C. Enhances blue and green transmission by effectively reducing red exposure by 2 stops. Heat resistant base. Deep dyed. (Transmission = 50%). (FStop: -1)
  Cinegel #4390: 90 Cyan
Photographic lighting filter equal to CC90C. Enhances blue and green transmission by effectively reducing red exposure by 3 stops. Heat resistant base. Deep dyed. (Transmission = 39%). (FStop: -1.3)
  Cinegel #4415: 15 Green
Photographic lighting filter equal to CC15G. Enhances green transmission by effectively reducing blue and red exposure by 1/2 stop. Heat resistant base. Deep dyed. (Transmission = 67%). (FStop: -0.6)
  Cinegel #4430: 30 Green
Photographic lighting filter equal to CC30G. Enhances green transmission by effectively reducing blue and red exposure by 1 stop. Heat resistant base. Deep dyed. (Transmission = 52%). (FStop: -0.9)
  Cinegel #4460: 60 Green
Photographic lighting filter equal to CC60G. Enhances green transmission by effectively reducing blue and red exposure by 2 stops. Heat resistant base. Deep dyed. (Transmission = 32%). (FStop: -1.6)
  Cinegel #4490: 90 Green
Photographic lighting filter equal to CC90G. Enhances green transmission by effectively reducing blue and red exposure by 3 stops. Heat resistant base. Deep dyed. (Transmission = 18%). (FStop: -2.4)
  Cinegel #4515: 15 Yellow
Photographic lighting filter equal to CC15Y. Enhances green and red transmission by effectively reducing blue exposure by 1/2 stop. Heat resistant base. Deep dyed. (Transmission = 80%). (FStop: -0.3)
  Cinegel #4530: 30 Yellow
Photographic lighting filter equal to CC30Y. Enhances green and red transmission by effectively reducing blue exposure by 1 stop. Heat resistant base. Deep dyed. (Transmission = 75%). (FStop: -0.4)
  Cinegel #4560: 60 Yellow
Photographic lighting filter equal to CC60Y. Enhances green and red transmission by effectively reducing blue exposure by 2 stops. Heat resistant base. Deep dyed. (Transmission = 70%). (FStop: -0.5)
  Cinegel #4590: 90 Yellow
Photographic lighting filter equal to CC90Y. Enhances green and red transmission by effectively reducing blue exposure by 3 stops. Heat resistant base. Deep dyed. (Transmission = 66%). (FStop: -0.6)
  Cinegel #4615: 15 Red
Photographic lighting filter equal to CC15R. Enhances red transmission by effectively reducing blue and green exposure by 1/2 stop. Heat resistant base. Deep dyed. (Transmission = 67%). (FStop: -0.6)
  Cinegel #4630: 30 Red
Photographic lighting filter equal to CC30R. Enhances red transmission by effectively reducing blue and green exposure by 1 stop. Heat resistant base. Deep dyed. (Transmission = 55%). (FStop: -0.9)
  Cinegel #4660: 60 Red
Photographic lighting filter equal to CC60R. Enhances red transmission by effectively reducing blue and green exposure by 2 stops. Heat resistant base. Deep dyed. (Transmission = 39%). (FStop: -1.4)
  Cinegel #4690: 90 Red
Photographic lighting filter equal to CC90R. Enhances red transmission by effectively reducing blue and green exposure by 3 stops. Heat resistant base. Deep dyed. (Transmission = 30%). (FStop: -1.7)
  Cinegel #4715: 15 Magenta
Photographic lighting filter equal to CC15M. Enhances blue and red transmission by effectively reducing green exposure by 1/2 stop. Heat resistant base. Deep dyed. (Transmission = 65%). (FStop: -0.6)
  Cinegel #4730: 30 Magenta
Photographic lighting filter equal to CC30M. Enhances blue and red transmission by effectively reducing green exposure by 1 stop. Heat resistant base. Deep dyed. (Transmission = 52%). (FStop: -0.9)
  Cinegel #4760: 60 Magenta
Photographic lighting filter equal to CC60M. Enhances blue and red transmission by effectively reducing green exposure by 2 stops. Heat resistant base. Deep dyed. (Transmission = 37%). (FStop: -1.4)
  Cinegel #4790: 90 Magenta
Photographic lighting filter equal to CC90M. Enhances blue and red transmission by effectively reducing green exposure by 3 stops. Heat resistant base. Deep dyed. (Transmission = 28%). (FStop: -1.8)
  Cinegel #4815: 15 Pink
Photographic lighting filter equal to 15M + 7Y. Enhances pink by effectively reducing green exposure by 0.5 stop and blue exposure 0.25 stop. Heat resistant base. Deep dyed. (Transmission = 71%). (FStop: -0.5)
  Cinegel #4830: 30 Pink
Photographic lighting filter equal to 30M + 15Y. Enhances pink by effectively reducing green exposure by 1 stop and blue exposure 0.5 stop. Heat resistant base. Deep dyed. (Transmission = 61%). (FStop: -0.7)
  Cinegel #4860: 60 Pink
Photographic lighting filter equal to 60M + 30Y. Enhances pink by effectively reducing green exposure by 2 stops and blue exposure 1 stop. Heat resistant base. Deep dyed. (Transmission = 46%). (FStop: -1.1)
  Cinegel #4890: 90 Pink
Photographic lighting filter equal to 90M + 45Y. Enhances pink by effectively reducing green exposure by 3 stop and blue exposure 1.5 stops. Heat resistant base. Deep dyed. (Transmission = 38%). (FStop: -1.4)
  Cinegel #4915: 15 Lavender
Photographic lighting filter equal to 15M + 7C. Enhances lavender by effectively reducing green exposure by 0.5 stop and red exposure 0.25 stop. Heat resistant base. Deep dyed. (Transmission = 61%). (FStop: -0.7)
  Cinegel #4930: 30 Lavender
Photographic lighting filter equal to 30M + 15C. Enhances lavender by effectively reducing green exposure by 1 stop and red exposure 0.5 stop. Heat resistant base. Deep dyed. (Transmission = 47%). (FStop: -1.1)
  Cinegel #4960: 60 Lavender
Photographic lighting filter equal to 60M + 30C. Enhances lavender by effectively reducing green exposure by 2 stops and red exposure 1 stop. Heat resistant base. Deep dyed. (Transmission = 29%). (FStop: -1.8)
  Cinegel #4990: 90 Lavender
Photographic lighting filter equal to 90M + 45C. Enhances lavender by effectively reducing green exposure by 3 stop and red exposure 1.5 stops. Heat resistant base. Deep dyed. (Transmission = 18%). (FStop: -2.5)
  Storaro #2001: VS Red
Incendiary Red - great for fiery stage washes (Transmission = 12%). (FStop: -3.1s)
  Storaro #2002: VS Orange
Flattering Firelight (Transmission = 23%). (FStop: -2.1s)
  Storaro #2003: VS Yellow
Deep yellow with amber tones. Strong, late day sunlight. Flattering on skin. (Transmission = 64%). (FStop: -0.7s)
  Storaro #2004: VS Green
Rich, Saturated Green color. - Great for moonlight (Transmission = 15%). (FStop: -2.7s)
  Storaro #2005: VS Cyan
Rich, Saturated Cyan color. Equals Double #4390 180 Cyan - Great for moonlight (Transmission = 18%). (FStop: -2.5s)
  Storaro #2006: VS Azure
Pure, crystalline blue (Transmission = 9%). (FStop: -3.5s)
  Storaro #2007: VS Blue
Rich deep indigo blue. (Transmission = 10%). (FStop: -3.3s)
  Storaro #2008: VS Indigo
Deep icy blue with violet undertones. Moonlight illusions. (Transmission = 4%). (FStop: -4.5s)
  Storaro #2009: VS Violet
Deep reddish purple. Nice as saturated special accent. (Transmission = 3%). (FStop: -5.0s)
  Storaro #2010: VS Magenta
Crisp and clean magenta with a nice balance of red and blue (Transmission = 28%). (FStop: -1.8s)
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