Rosco Color Chart by Number
Colors represented are approximate and may differ from actual color due to monitor and computer color settings.

00 Clear: Used in the preparation of color scrollers to allow the passage from a color to clear.

01 Light Bastard Amber: Enhances fair 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.

04 Medium Bastard Amber: Especially useful when cross lit with a cool color. Excellent for natural sunlight.

05 Rose Tint: A clean pale pink; useful as a blush for skin tones.

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.

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.

13: Straw Tint: Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues.

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.

17 Light Flame: Heavier pink-amber tint. Useful for dance. Especially useful when balanced with a cool color. Good general warm tint in striplights.

18 Flame: Warm pinkish amber. Afternoon sunset. Good sidelight.

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.

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.

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.

32 Medium Salmon Pink: Deepest of the salmon pinks.

33 No Color Pink: A pale almost colorless pink.

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.

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

40 Light Salmon: Similar uses to 23 but a bluer color.

41 Salmon: Light orange with high blue content.

42 Deep Salmon: More red than 342.

43 Deep Pink : Rich, hot pink. Electric in effect with rich saturation.

44 Middle Rose : Musical pink. Lush accents. Very versatile 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.

47 Light Rose Purple: Good for eerie or dramatic effects. Beautiful backlight color.

48 Rose Purple: Pale evening color. Excellent for backlight.

49 Medium Purple: Darkest of the magenta purple range.

50 Mauve: Subdued sunset effect. Useful in backlights. To create seedy atmosphere.

51 Surprise Pink: Touch of color when white light is not desirable.

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.

54 Special Lavender: Same as 53, but warmer. Useful for beams of realistic moonlight.

55 Lilac: Same as 53, but cooler.

56 Gypsy Lavender: Highly saturated, good for side and backlighting and non-realistic effect.

57 Lavender: Excellent backlight. Gives good visibility without destroying night illusions.

58 Deep Lavender: Excellent back light. Enhances dimensionality.

59 Indigo: The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres.

60 No Color Blue: Helps maintain white light when dimmer is at low intensity.

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.

63 Pale Blue: Good for creating an overcast look and feeling.

64 Light Steel Blue: Useful for beams of realistic moonlight.

65 Daylight Blue: Useful for achieving depressed moods and dull skies.

66 Cool Blue: A pale green shade of blue; good for area or general washes. Creates an icy feeling on stage.

67 Light Sky Blue: Excellent sky color. Useful for cyc and border lights.

68 Sky Blue: Excellent for early morning sky tones. Popular among designers for cyc and borders.

69 Brilliant Blue: Used for dramatic moonlight effects.

70 Nile Blue: Useful for very light midday skies. Occasionally used for general cool tint.

71 Sea Blue: Occasionally used for general cool tint and non-realistic washes.

72 Azure Blue: A clean slightly green blue. Good moonlight fill.

73 Peacock Blue: Good for fantasy, moonlight and water effects.

74 Night Blue: Fantasy moonlight. Crisp and beautiful. Popular as a backlight or sidelight in contrast to area light.

75 Twilight Blue NEW!: Less green & crisper than 76.

76 Light Green Blue: Distinctive greenish blues. Useful for romantic moonlight.

77 Green Blue: Distinctive greenish blues. Useful for romantic moonlight.

78 Trudy 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.

83 Medium Blue: Good for non-realistic night skies.

84 Zephyr Blue: A true blue with excellent punch for bright skies. Lovely contrast to pale blues; adds coldness to shadows.

85 Deep Blue: Deeply saturated blue with a hint of red.

86 Pea Green: Good for dense foliage and woodland effects.

87 Pale Yellow Green: Sunny spring mornings.

88 Light Green: Sunny spring mornings.

89 Moss Green: Useful for mood, mystery and toning.

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.

93 Blue Green: Useful for mood of mystery and for toning scenery that has been spattered in blues.

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.

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.

98 Medium Grey: Helpful in balancing brightness of lamps of different wattage.

99 Chocolate: Warms light and reduces intensity.

100 Frost: Changes ellipsoidal to fresnel beam pattern.

101 Light Frost: Offers softened beam.Changes ellipsoidal into flood or scoop.

102 Light Tough Frost: Changes ellipsoidal into flood or scoop.

103 Tough Frost: Has twin qualities of wide diffusion and warm center.

104 Tough Silk: Creates a slash of light for stretching light along stairs, tables, cycs, etc. Diffuses while maintaining compactness of beam.

105 Tough Spun: Good on scoops for cyc lighting.

106 Light Tough Spun: Removes lens shadows.

111 Tough Rolux: Densest diffusion of the series. Spreads the light almost 1800.

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.

113 Matte Silk: Good for striplights and specials.

114 Hamburg Frost: A very light frost; good on followspots and PAR lamps.

115 Light Tough Rolux

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.

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.

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.

119 Light Hamburg Frost: Lighter than 114. Recommended for followspots and slight diffuse focus for ellipsoldals.

120 Red Diffusion: Combine a color with Matte Diffusion. Aids in broad, even illumination of cycs and drops.

121 Blue Diffusion: Combine a color with Matte Diffusion. Aids in broad, even illumination of cycs and drops.

122 Green Diffusion: Combine a color with Matte Diffusion. Aids in broad, even illumination of cycs and drops.

124 Red Cyc Silk: Combine a color with 104 Tough Silk.

125 Blue Cyc Silk: Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops.

126 Green Cyc Silk: Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops.

127 Amber Cyc Silk: A secondary color combined with 104 Tough Silk.

132 Quarter Hamburg Frost

140 Subtle Hamburg Frost

160 Light Tough Silk: Retains the diffusion properties of 104 but with less light loss.

162 Light Opal: A lighter version on the popular 112 Opal Tough Frost.

163 Powder Frost: A good medium cosmetic diffuser.

303 Warm Peach: Heavier Amber-pink tint. Useful to create warm sunlight.

304 Pale Apricot: A peach amber. More yellow than 305.

305 Rose Gold: A pale blush amber for skin tones and backlight.

310 Daffodil: A soft medium yellow. Can be used for creating naturalistic effects such as early morning sunlight or for special effects.

312 Canary: Warmer than 10. A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin.

313 Light Relief Yellow: Vibrant Yellow. More red than 312. Less green than all other yellows.

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.

317 Apricot: A rosy amber which produces a romantic sunset color. Useful as sidelight or backlight color.

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.

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.

324 Gypsy Red: Vibrant orange-red. Helps red and orange scenery pop.

331 Shell Pink: Warmer and lighter than 31. Good for fair skin tones and to emphasize romance.

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.

333 Blush Pink: A pink tint that is excellent for most skin tones. A good color for warm area lighting. Lighter than 33.

336 Billinton Pink

337 True Pink: A cool pink excellent for washes and general illumination. A good follow spot color. A component of early morning sunrise.

339 Broadway Pink: A deep, saturated pink created for musicals and specials. Excellent for down and backlighting.

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.

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.

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.

346 Tropical Magenta

347 Belladonna Rose: Powerful magenta-purple. Good effects filter for dance.

348 Purple Jazz: A dusky purple. Good for simulating purple neon or old night club atmosphere.

349 Fischer Fuchsia: A medium fuchsia good for special effects. An interesting backlight or accent color.

351 Lavender Mist

353 Lilly Lavender: Same intensity as 55 with more red content.

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.

356 Middle Lavender: A lavender halfway between 52 and 57 in hue and value. Useful for general illumination and side-lighting.

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.

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.

359 Medium Violet: Midnight and moonlight illusions. Enforces mysterious mood. Useful for evening cyc wash.

360 Clearwater: The slightest blue tint. Excellent for eliminating amber shift when lights are running low on a dimmer. Good for cool area light.

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.

363 Aquamarine: A pale blue-green color. Can be used for area lighting. A soft backlight color.

364 Blue Bell: A clean light red blue. Creates naturalistic daylight fill color. Good cool area light.

365 Tharon Delft Blue: Clean blue with more red than 364. A true color correction filter for film. Converts 3200K to 5500K. Good for area light.

366 Jordan Blue: More green than 65. A crisp light blue-green.

367 Slate Blue: Clean medium blue. Good for sky color or moonlight.

369 Tahitian Blue: Slightly more green than 69.

370 Italian Blue: Good to create eerie and mysterious effects. Good for night time water effects.

371 Theatre Booster 1: Less red than 3202.

372 Theatre Booster 2: Slightly lighter and less red than 3204.

373 Theatre Booster 3: Slightly lighter and less red than 3208.

374 Sea Green: For enhancing water scenes or deep sea environments. Greener than 73.

376 Bermuda Blue: A soothing green blue. More blue than 76. A good conventional moonlight color. Interesting tonal color.

377 Iris Purple: Medium neutral lavendar. Good wash light.

378 Alice Blue: A rich clean red blue that warms to lavender when dimmed.

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.

383 Sapphire Blue: A deep romantic blue on the red side.

384 Midnight Blue: An intense red-blue. Deeper than 83 with a little more 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.

386 Leaf Green

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.

389 Chroma Green: Suggests reflected light from dense foliage. A brilliant cyc lighting color which will work for chroma-keying effects in television production

392 Pacific Green: Cyc Wash. Good Costume color. Magical on skin.

393 Emerald Green: An exagerrated green. Nearly double intensity as 93, less blue than 95.

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.

397 Pale Grey: A half stop neutral density.

398 Neutral Grey: A very neutral filter to balance brightness of lamps of different wattage without changing the color temperature.

2002 Storaro Orange

2003 Storaro Yellow

2004 Storaro Green

2007 VS Blue

2008 Storaro Indigo

2009 Storaro Violet

3202 Full Blue: Boosts 3200K to 5500K

3203 Three Quarter Blue

3204 Half Blue: Boosts 3200K to 4100K

3206 Third Blue: Boosts 3200K to 3800K

3208 Quarter Blue: Boosts 3200K to 3500K

3216 Eighth Blue: Boosts 3200K to 3300K

3220 Double Blue

3304 Tough Plusgreen: To balance daylight sources to cool white flourescents.

3308 Tough Minusgreen: Converts cool white flourescents to daylight.

3313 Tough 1/2 Minusgreen: Partial green absorbing filter.

3314 Tough 1/4 Minusgreen: Partial green absorbing filter.

3315 Tough 1/2 Plusgreen: Adds partial green to balance with flourescents.

3316 Tough 1/4 Plusgreen: Adds partial green to balance with flourescents.

3317 Tough 1/8 Plusgreen: Adds partial green to balance with flourescents.

3318 Tough 1/8 Minusgreen: Partial green absorbing filter.

3405 Roscosun 85N.3

3406 Roscosun 85N.6

3407 Roscosun CTO: Converts 5500K to 2900K

3408 Roscosun 1/2 CTO: Converts 500K to 3800K

3409 Roscosun 1/4 CTO: Converts 5500K to 4500K

3410 Roscosun 1/8 CTO: Converts 5500K to 4900K

3411 Roscosun 3/4 CTO

3441 Full Straw CTS

3442 Half Straw 1/2 CTS

3443 Quarter Straw 1/4 CTS

3444 Eighth Straw 1/8 CTS

4215 CalColor 15 Blue

4230 CalColor 30 Blue

4260 CalColor 60 Blue

4290 CalColor 90 Blue

4315 CalColor 15 Cyan

4330 CalColor 30 Cyan

4360 CalColor 60 Cyan

4390 CalColor 90 Cyan

4415 CalColor 15 Green

4430 CalColor 30 Green

4460 CalColor 60 Green

4490 CalColor 90 Green

4515 CalColor 15 Yellow

4530 CalColor 30 Yellow

4560 CalColor 60 Yellow

4590 CalColor 90 Yellow

4615 CalColor 15 Red

4630 CalColor 30 Red

4660 CalColor 60 Red

4690 CalColor 90 Red

4715 CalColor 15 Magenta

4730 CalColor 30 Magenta

4760 CalColor 60 Magenta

4790 CalColor 90 Magenta

4815 CalColor 15 Pink

4830 CalColor 30 Pink

4860 CalColor 60 Pink

4890 CalColor 90 Pink

4915 CalColor 15 Lavender

4930 CalColor 30 Lavender

4960 CalColor 60 Lavender

4990 CalColor 90 Lavender