Rosco Supergel Numeric Index
Colour Number Name Suggested Uses Y %   00 Clear A durable, heat resistant polycarbonate film used in the preparation of colour scrollers to allow the passage from a colour to clear. 100   01 Light Bastard Amber Enhances fair skin tones. Suggests strong sunlight. 56   02 Bastard Amber Good where a tint of colour is needed. Excellent for natural skin tones. 78   03 Dark Bastard Amber Most saturated Bastard Amber. 62   04 Medium Bastard Amber Especially useful when cross lit with a cool colour. Excellent for natural sunlight. 66   05 Rose Tint A clean pale pink; useful as a blush for skin tones. 80   06 No Colour Straw Slightly off white. Good for interiors. 92   07 Pale Yellow Double saturation of 06. 96   09 Pale Amber Gold Deep straw. Good for late afternoon sunsets or firelight. 74   10 Medium Yellow Yellow with green. Good for special effects. Unflattering in acting areas. 92   11 Light Straw Pale yellow with slight red content. Useful for candle effects. Can be used for area lighting. For bright day feeling. 82   13 Straw Tint Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues. 78   14 Medium Straw Pale amber-higher red content than 12. Sunlight, accents, area lighting with caution to skin tones. 68   15 Deep Straw Warm golden amber with some green. Useful for special effects-candlelight, firelight. 65   19 Fire Strong red amber. Excellent for fire effects. 20   20 Medium Amber Afternoon sunlight. Lamplight and candlelight. Tends to depress colour pigment values. 54   21 Golden Amber Useful for amber cyc light and late sunsets. 43   22 Deep Amber Very useful as a backlight. Dramatic specials and firelight. 26   23 Orange Provides a romantic sunlight through windows for evening effects. 32   24 Scarlet Very deep amber. Red with a touch of blue. 22   25 Orange Red Good for firelight or special effects. Use when red with higher yellow content is needed. 14   26 Light Red Vibrant red. Good alternative primary. 12   27 Medium Red Good red primary for use with three-colour light primary systems in cyclorama lighting, footlights, and border lights. 4   30 Light Salmon Pink Excellent for general area washes. Gives overall warming effect to skin tones. 44   31 Salmon Pink General wash. Good for follow spots. 46   32 Medium Salmon Pink Deepest of the salmon pinks. 28   33 No Colour Pink A pale almost colourless pink. 65   35 Light Pink Similar to 33, but slightly deeper. 66   36 Medium Pink Good for general washes and cross lighting. 46   38 Light Rose Similar uses as 37, but with greater saturation. 49   39 Skelton Exotic Sangria A sultry, deep purple. Good for musicals or concert lighting. Excellent special effects colour. 10   40 Light Salmon Similar uses to 23 but a bluer colour. 34   43 Deep Pink Rich, hot pink. Electric in effect with rich saturation. 28   45 Rose Use on scenery and background effects. Adds tone and modeling to scenery. 8   46 Magenta Similar uses as 45 where more saturation is needed. 6   47 Light Rose Purple Good for eerie or dramatic effects. Beautiful backlight colour. 16   48 Rose Purple Pale evening colour. Excellent for backlight. 16   49 Medium Purple Darkest of the magenta purple range. 4 Image not available 50 Mauve   14   52 Light Lavender Excellent for general area or border light washes. It is a basic followspot colour. 26   53 Pale Lavender Use when a touch of colour is needed. 64   54 Special Lavender Same as 53, but warmer. Useful for beams of realistic moonlight. 50   55 Lilac Same as 53, but cooler. 37   56 Gypsy Lavender Highly saturated, good for side and backlighting and non-realistic effect. 4   57 Lavender Excellent backlight. Gives good visibility without destroying night illusions. 24   58 Deep Lavender Excellent back light. Enhances dimensionality. 10   59 Indigo The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres. 2   61 Mist Blue Excellent for general area washes. Very light cool tint of blue. 66   62 Booster Blue Helps maintain white light when dimmer is at low intensity. 54   63 Pale Blue Good for creating an overcast look and feeling. 56   64 Light Steel Blue Useful for beams of realistic moonlight. 26   65 Daylight Blue Useful for achieving depressed moods and dull skies. 35   66 Cool Blue A pale green shade of blue; good for area or general washes. Creates an icy feeling on stage. 67   67 Light Sky Blue Excellent sky colour. Useful for cyc and border lights. 26   68 Sky Blue Excellent for early morning sky tones. Popular among designers for cyc and borders. 14   69 Brilliant Blue Used for dramatic moonlight effects. 18   70 Nile Blue Useful for very light midday skies. Occasionally used for general cool tint. 45   71 Sea Blue Occasionally used for general cool tint and non-realistic washes. 30   72 Azure Blue A clean slightly green blue. Good moonlight fill. 44   73 Peacock Blue Good for fantasy, moonlight and water effects. 28   74 Night Blue Fantasy moonlight. Crisp and beautiful. Popular as a backlight or sidelight in contrast to area light. 4   76 Light Green Blue Distinctive greenish blues. Useful for romantic moonlight. 9   78 Trudy Blue A rich clean red blue that warms to lavender when dimmed. 19   79 Bright Blue Cool clear bright blue. 8   80 Primary Blue Primary blue. For use with three colour light primary system in cyc lighting. 9   81 Urban Blue Very cold brittle feeling. 10   82 Surprise Blue Deep rich blue with slight amount of red. 6   83 Medium Blue Good for non-realistic night skies. 4   84 Zephyr Blue A true blue with excellent punch for bright skies. Lovely contrast to pale blues; adds coldness to shadows. 14   85 Deep Blue Deeply saturated blue with a hint of red. 3   86 Pea Green Good for dense foliage and woodland effects. 56   89 Moss Green Useful for mood, mystery and toning. 45   90 Dark Yellow Green Alternate primary where higher transmission is desired. 13   91 Primary Green Primary green for three colour primary system. 7   93 Blue Green Useful for mood of mystery and for toning scenery that has been spattered in blues. 35   94 Kelly Green Fantasy and unrealistic effects. Unflattering on skin tones. 25   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. 15   96 Lime To simulate unnatural sunlight before and after a rainstorm or tornado. 98   100 Frost Frost. Changes ellipsoidal to fresnel beam pattern. --   101 Light Frost Offers softened beam. --   104 Tough Silk Creates a slash of light for stretching light along stairs, tables, cycs, etc. Diffuses while maintaining compactness of beam. --   113 Matte Silk Good for striplights and specials. --   114 Hamburg Frost A very light frost; good on followspots and PAR lamps. --   119 Light Hamburg Frost Lighter than 114. Recommended for followspots and slight diffuse focus for ellipsoldals. --   120 Red Diffusion Combine a colour with Matte Diffusion. Aids in broad, even illumination of cycs and drops. 12   121 Blue Diffusion Combine a colour with Matte Diffusion. Aids in broad, even illumination of cycs and drops. 8   122 Green Diffusion Combine a colour with Matte Diffusion. Aids in broad, even illumination of cycs and drops. 13   124 Red Cyc Silk Combine a colour with 104 Tough Silk. 12   125 Blue Cyc Silk Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops. 8   126 Green Cyc Silk Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops. 13   127 Amber Cyc Silk A secondary colour combined with 104 Tough Silk. 32   132 1/4 Hamburg Frost   --   160 Light Tough Silk Retains the diffusion properties of 104 but with less light loss. --   304 Pale Apricot A peach amber. More yellow than 305. 79   305 Rose Gold A pale blush amber for skin tones and backlight. 75   312 Canary Warmer than 10. A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin. 85 Image not available 317 Apricot   51 Image not available 318 Mayan Sun   52   332 Cherry Rose A tropical pink that is good for musicals or concert lighting. A good backlight colour. Interesting accent colour. Good for a splash of sunset colour. 38 Image not available 336 Billington Pink   48   337 True Pink A cool pink excellent for washes and general illumination. A good follow spot colour. A component of early morning sunrise. 55   339 Broadway Pink A deep, saturated pink created for musicals and specials. Excellent for down and backlighting. 15   342 Rose Pink Extremely intense, hot pink. Produces strong washes of colour for concert and dance. Combined with a complimentary colour like turquoise, will create a dynamic, sculptured effect. 16   343 Neon Pink A bright, dark pink excellent for musicals or rock and roll concert lighting. A good colour for creating fake neon effects with fluorescent tubes. 33   344 Follies Pink A vibrant, almost fluorescent pink with a cool component. Traditionally important as a special effects colour in the Broadway musical. Follow spot and dance applications as a modeling colour. 21 Image not available 346 Tropical Magenta 22   349 Fisher Fuchsia A medium fuchsia good for special effects. An interesting backlight or accent colour. 11 Image not available 351 Lavender Mist   61   355 Pale Violet A cool lavender which acts as a neutral in a three colour area lighting system. Will work well as a wash for drops or set pieces. Tones the space. Effective as moonlight shadows. 20   356 Middle Lavender A lavender halfway between 52 and 57 in hue and value. Useful for general illumination and side-lighting. 27   357 Royal Lavender A rich lavender which will enhance blue and red costumes and scenic pieces. Excellent for nighttime scenes. Rich, vivid accents, good in backgrounds. 5   358 Rose Indigo A warm, red purple that recalls the Jazz Age. Useful for creating saturated colour effects in live performance situations-club and musical group lighting. 10   359 Medium Violet Midnight and moonlight illusions. Enforces mysterious mood. Useful for evening cyc wash. --   363 Aqua Marine A pale blue-green colour. Can be used for area lighting. A soft backlight colour. 52   367 Slate Blue Clean medium blue. Good for sky colour or moonlight. 20   370 Italian Blue Good to create eerie and mysterious effects. Good for night time water effects. 31 Image not available 371 Theatre Booster 1   35 Image not available 372 Theatre Booster 2   55 Image not available 373 Theatre Booster 3   72   382 Congo Blue Deep blue more saturated than Roscolux 385. Good for dark night skies or for a backlight colour. A great colour for rock and roll concert lighting. 56   383 Saphire Blue A deep romantic blue on the red side. 4   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. 4 Image not available 386 Leaf Green   32   388 Gaslight Green A yellow-green similar to the colour emitted by gas lighting fixtures. Appropriate for period pieces: i.e. La Boheme, and useful for creating reflections from fields and meadows. 76   389 Chroma Green Suggests reflected light from dense foliage. A brilliant cyc lighting colour which will work for chroma-keying effects in television production. 40   395 Teal Green A medium green-blue which can be used as a mystical special effect colour. Also an interesting side or backlight colour in concert lighting. 13 Image not available 398 Neutral Grey   40
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Revised: 20-Dec-2008	Copyright (C) 2005 Adena Limited