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Rosco E-Colour Numerical Listing

 
Rosco E-Colour Swatch Book

Rosco E-Colour Sheets

E-Colour is Rosco's range of European color filters for theatre, film and video production. Rosco E-Colour includes different filters and materials for color correction, color effects, diffusion and reflection that are manufactured with the latest dye formulations and bonding technologies so you can be sure of the highest level of performance and reliability.

Rosco E-Colour is ideal for use in school performing arts facilities.

Individual colours available in 530mm x 610mm sheets.

Ordering codes are ROS-ECS-XXX where XXX is the Colour Number.

Colours Listed in Numerical Order

Colour

Number

Name

Suggested Uses

Y %

 

002

Rose Pink

Musical pink. Lush accents. Very versatile color.

52.36

 

003

Lavender Tint

Touch of color when white light is not desirable.

74.48

 

004

Medium Bastard Amber

Good where a tint of color is needed. Excellent for natural skin tones.

61.05

 

007

Pale Yellow

Slightly warm tint for interiors.

88.73

 

008

Dark Salmon

Enhances dark skin tones, sunsets, ballroom sets.

37.00

 

009

Pale Amber

Deep straw. Good for late afternoon sunsets or firelight.

69.90

 

010

Medium Yellow

Yellow with green. Good for special effects. Unflattering in acting areas.

83.91

 

013

Straw Tint

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

70.80

 

015

Deep Straw

Warm golden amber with some green. Useful for special effects-candlelight, firelight.

61.16

 

017

Surprise Peach

Skin tones - mood light.

18.55

 

019

Fire

Strong red amber. Excellent for fire effects.

17.01

 

020

Medium Amber

Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values.

57.61

 

021

Gold Amber

Useful for amber cyc light and late sunsets.

37.00

 

022

Dark Amber

Very useful as a backlight. Dramatic specials and firelight.

24.00

 

024

Scarlet

Very deep amber. Red with a touch of blue.

20.00

 

025

Sunrise Red

Very useful as a backlight. Dramatic specials and firelight.

27.00

 

026

Bright Red

Cycloramas.

6.81

 

027

Medium Red

Good red primary for use with three-color light primary systems in cyclorama lighting, footlights, and border lights.

3.31

 

029

Plasa Red

Fire effect, musicals, cycloramas.

6.00

 

035

Light Pink

Similar to 36, but slightly lighter.

66.00

 

036

Medium Pink

Good for general washes and cross lighting.

46.00

 

039

Pink Carnation

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

60.00

 

046

Dark Magenta

Very strong pink, good for back lighting.

6.00

 

052

Light Lavender

Excellent for general area washes. A basic followspot color.

37.80

 

058

Lavender

Backlight.

9.00

 

061

Mist Blue

Excellent for general area washes. A very light cool tint.

63.00

 

063

Pale Blue

Cycloramas, cool wash.

54.48

 

068

Sky Blue

Night effect, cycloramas.

13.00

 

071

Tokyo Blue

Deep blue, use for midnight scenes, cycloramas.

0.92

 

075

Evening Blue

Good for night scenes, romantic moonlight.

12.42

 

079

Just Blue

Cycloramas.

7.55

 

085

Deeper Blue

Moonlight, strong back lighting.

3.00

 

088

Lime Green

Sunny spring mornings.

69.00

 

089

Moss Green

Useful for mood, mystery or toning.

31.10

 

090

Dark Yellow Green

Highlighting for forest effects.

10.57

 

100

Spring Yellow

Sunlight wash - use with gobos - disco - dark skin tones.

71.34

 

101

Yellow

A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin.

80.00

 

102

Light Amber

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

75.00

 

103

Straw

Warmer straw. Flattering to skin tones.

82.00

 

104

Deep Amber

Sunlight, accents, area lighting with caution to skin tones.

64.00

 

105

Orange

Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values.

41.00

 

106

Primary Red

Vibrant red. Good alternative primary.

9.00

 

107

Light Rose

General wash. Good for follow spots.

48.00

 

108

English Rose

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

67.91

 

109

Light Salmon

Interesting backlight.

55.00

 

110

Middle Rose

Pleasing effects for theatrical lighting.

47.00

 

111

Dark Pink

Good for cycloramas.

32.00

 

113

Magenta

Very strong - used carefully for small areas on set.

11.00

 

115

Peacock Blue

Good for fantasy, moonlight and water effects.

35.00

 

116

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.

17.00

 

117

Steel Blue

Useful for very light midday skies. Occasionally used for general cool tint.

55.00

 

118

Light Blue

Strong night effect.

22.00

 

119

Dark Blue

Good for non-realistic night skies.

3.00

 

120

Deep Blue

Pleasing effect for theatrical lighting.

1.00

 

121

Leaf Green

Good for dense foliage and woodland effects.

64.00

 

122

Fern Green

Cycloramas - good for mood effect.

51.00

 

124

Dark Green

Cycloramas - good for back lighting.

30.00

 

126

Mauve

Darkest of the magenta purple range.

4.00

 

127

Smokey Pink

Subdued sunset effect. Useful in backlights. To create seedy atmosphere.

11.95

 

128

Bright Pink

A deep, saturated pink created for musicals and specials. Excellent for down and backlighting.

14.00

129

Heavy Frost

A dense diffuser for soft shadowless light.

--

130

Clear

Transparent polyester carrier for animation cels or scrollers.

--

 

131

Marine Blue

Good to create eerie and mysterious effects. Good for night time water effects.

26.83

 

132

Medium Blue

Primary blue. For use with three color light primary system in cyc lighting.

8.00

 

134

Golden Amber

An amber with some green content. A good sunlight transition color that shows the progression of the sun toward amber later in the day.

38.00

 

135

Deep Golden Amber

Fire effect.

19.00

 

136

Pale Lavender

Touch of color when white light is not desirable.

43.00

 

137

Special Lavender

Moonlight, musical / romantic scenes, enhances skin tones.

26.42

 

138

Pale Green

Sunny spring mornings.

79.87

 

139

Primary Green

Alternate primary where higher transmission is desired.

15.00

 

140

Summer Blue

A clean slightly green blue. Good moonlight fill.

34.75

 

141

Bright Blue

Pretty or romantic moonlight, cycloramas, night.

19.00

 

142

Pale Violet

A cool lavender which acts as a neutral in a three color area lighting system. Works well as a wash for drops and as moonlight shadows.

20.14

 

143

Pale Navy Blue

Moonlight, cyclorama night effect.

16.10

 

144

No Colour Blue

Moonlight for green seas, cycloramas with 147 to produce sunsets.

32.40

 

147

Apricot

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

52.90

 

148

Bright Rose

Fire effects, musicals.

14.40

 

151

Gold Tint

A pale blush amber for skin tones and backlight.

69.40

 

152

Pale Gold

Interior lighting to enhance skin tones.

71.00

 

153

Pale Salmon

Backlighting in conjunction with white light.

64.80

 

154

Pale Rose

A clean pale pink; useful as a blush for skin tones.

73.10

 

156

Chocolate

With 103 Straw in same lantern to produce candlelight.

26.30

 

157

Pink

Dance sequences (useful for softening white costumes without affecting skin tones).

36.40

 

158

Deep Orange

Provides a romantic sunlight through windows for evening effects.

30.00

 

159

No Colour Straw

Slightly off white. Good for interiors.

89.00

 

161

Slate Blue

Clean medium blue. Good for sky color or moonlight.

25.00

 

162

Bastard Amber

Good where a tint of color is needed. Excellent for natural skin tones.

78.00

 

164

Flame Red

Good for firelight or special effects. Use when red with higher yellow content is needed.

18.00

 

165

Daylight Blue

Excellent sky color. Useful for cyc and border lights.

20.00

 

166

Pale Red

Cycloramas.

25.00

 

169

Lilac Tint

Ballroom - dance - backlight - front of house.

20.00

 

170

Deep Lavender

General area washes.

25.60

 

172

Lagoon Blue

Floodlit warm wash - underwater scenes - ballet.

16.87

 

174

Dark Steel Blue

Useful for beams of realistic moonlight.

30.00

 

176

Loving Amber

Enhances fair skin tones. Suggests strong sunlight.

50.20

 

179

Chrome Orange

Warm pinkish amber. Afternoon sunset. Good sidelight.

53.90

 

180

Dark Lavender

A rich lavender which will enhance blue and red costumes and scenic pieces. Excellent for nightime scenes.

6.60

 

181

Congo Blue

A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres.

1.00

 

182

Light Red

Theatre and television effect lighting, cycloramas.

11.00

 

183

Moonlight Blue

Used for dramatic moonlight effects.

18.70

 

184

Cosmetic Peach

Pale tints complementary to key lighting.

57.00

 

185

Cosmetic Burgundy

Pale tints complementary to key lighting.

52.00

 

186

Cosmetic Silver Rose

Pale tints complementary to key lighting.

51.00

 

187

Cosmetic Rouge

Pale tints complementary to key lighting.

54.00

 

188

Cosmetic Highlight

Pale tints complementary to key lighting.

56.00

 

189

Cosmetic Silver Moss

Pale tints complementary to key lighting.

61.00

 

190

Cosmetic Emerald

Pale tints complementary to key lighting.

60.00

 

191

Cosmetic Aqua Blue

Pale tints complementary to key lighting.

53.00

 

192

Flesh Pink

Musical and pantomime key lighting.

35.00

 

193

Rosey Amber

Warm, emotional, romantic.

36.00

 

194

Surprise Pink

Excellent backlight. Gives good visibility without destroying night illusions.

22.00

 

195

Zenith Blue

Moonlight for dark sets, cycloramas.

2.70

 

196

True Blue

Useful for achieving depressed moods and dull skies.

26.60

 

197

Alice Blue

Very cold brittle feeling.

10.00

 

198

Palace Blue

Dark moonlight - romantic evening.

2.00

 

200

Double CT Blue

Tungsten to Daylight 2,800K to 10,000K.

16.20

 

201

Full CT Blue

Tungsten to Photographic Daylight 3,200K to 5,700K.

36.00

 

202

Half CT Blue

Converts tungsten to daylight - 3200K to 4300K

55.00

 

203

1/4 CT Blue

Converts tungsten to daylight - 3200K to 3600K.

69.20

 

204

Full CT Orange

Converts daylight to tungsten light - 6500K to 3200K.

55.40

 

205

1/2 CT Orange

Converts daylight to tungsten light - 6500K to 3800K.

70.80

 

206

1/4 CT Orange

Converts daylight to tungsten light - 6500K to 4600K.

79.10

 

207

CT Orange + 0.3 ND

Converts daylight to tungsten 6500K to 3200K and reduces light 1 stop.

32.50

 

208

CT Orange + 0.6 ND

Converts daylight to tungsten 6500K to 3200K and reduces light 2 stops.

15.60

 

209

0.3 Neutral Density

Reduces light 1 stop, without changing colour.

51.20

 

210

0.6 Neutral Density

Reduces light 2 stops, without changing colour.

23.50

 

211

0.9 Neutral Density

Reduces light 3 stops, without changing colour.

13.70

 

212

L.C.T. Yellow

Reduces colour temperature of low carbon arcs to 3200K.

88.70

 

213

White Flame Green

Corrects white flame carbon arcs by absorbing ultra violet.

80.00

214

Full Tough Spun

A slight diffuser. Softens edge, yet beam shape is maintained.

18.00

215

1/2 Tough Spun

Similar characteristics to 214, but less dense.

36.00

216

White Diffusion

A moderate diffuser that creates a soft even effect.

36.00

 

217

Blue Diffusion

As white diffusion but with the addition of eighth CTB

36.00

 

218

1/8 CT Blue

Converts tungsten to daylight - 3200K to 3400K.

81.30

 

219

Fluorescent Green

Converts tungsten to cool white fluorescent light.

31.00

220

White Frost

A medium diffuser that softens beam yet maintains beam centre.

39.00

 

221

Blue Frost

A slight diffuser combined with Eighth CTB.

42.00

 

223

1/8 CT Orange

Converts daylight to tungsten light - 6500K to 5550K.

85.2

 

224

Daylight Blue Frost

220 combined with Full CTB.

22.00

 

225

Neutral Density Frost

220 combined with 0.6 Neutral Density.

--

226

UV Filter

Absorbs excess UV from Arcs and HMI.

91.50

228

Brushed Silk

A slight diffuser for spreading light in one direction.

60.00

229

1/4 Tough Spun

Similar characteristics to 215, but less dense.

60.00

 

236

H.M.I. (To Tungsten)

Converts HMI to 3200K, for use with Tungsten film.

58.20

 

241

Fluorescent 5700K

Converts tungsten to fluorescent light of 5700K (white).

32.00

 

242

Fluorescent 4300K

Converts tungsten to fluorescent light of 4300K (white).

37.30

 

243

Fluorescent 3600K

Converts tungsten to fluorescent light of 3600K (warm white).

45.70

 

244

Plus Green

Adds green when balancing to fluorescent and other discharge sources. Approximately equivalent to CC30 green camera filter.

74.20

 

245

1/2 Plus Green

Adds green when balancing to fluorescent and other discharge sources. Approximately equivalent to CC15 green camera filter.

81.70

 

246

1/4 Plus Green

Adds green when balancing to fluorescent and other discharge sources. Approximately equivalent to CC075 green camera filter.

84.60

 

247

Minus Green

Reduces green from fluorescents and other discharge sources. Approximately equivalent to CC30 magenta camera filter.

59.10

 

248

1/2 Minus Green

Reduces green from fluorescents and other discharge sources. Approximately equivalent to CC15 magenta camera filter.

72.00

 

249

1/4 Minus Green

Reduces green from fluorescents and other discharge sources. Approximately equivalent to CC75 magenta camera filter.

82.40

250

1/2 White Diffusion

Similar characteristics to 216, but less dense.

60.00

251

1/4 White Diffusion

Similar characteristics to 250, but less dense.

80.00

252

1/8 White Diffusion

Similar characteristics to 251, but less dense.

>85.0

253

Hanover Frost

Light frost effect. Softens shadows, reduces hot spots.

>85.0

256

Half Hanover Frost

Similar characteristics to 253, but less dense.

>85.0

257

Quarter Hanover Frost

Similar characteristics to 256, but less dense.

>85.0

270

Scrim

Perforated reflector producing a very soft reflection. Silver on one side and black on reverse. 1 1/2 stops when used as a filter.

36.00

271

Mirror Silver

Used to bounce light with either hard or soft reflection. Produces hard reflection. White backed.

--

272

Soft Gold Reflector

Used to bounce light with either hard or soft reflection. Produces soft reflection. White backed. Mired shift +45.

--

273

Soft Silver reflector

Used to bounce light with either hard or soft reflection. Produces soft reflection. White backed. Mired shift +45.

--

 

278

1/8 Plus Green

Adds green when balancing to fluorescent and other discharge sources. Approximately equivalent to CC035 green camera filter.

87.70

 

279

1/8 Minus Green

Reduces green from fluorescents and other discharge sources. Approximately equivalent to CC035 magenta camera filter.

86.50

 

281

3/4 CT Blue

Converts tungsten to daylight - 3200K to 5000K.

45.50

 

285

3/4 CT Orange

Converts daylight to tungsten light - 6500K to 3600K.

61.30

 

298

0.15 Neutral Density

Reduces light 1/2 stop, without changing colour.

69.30

 

299

1.2 Neutral Density

Reduces light 4 stops, without changing colour.

6.60

 

322

Soft Green

Cool green, use for gobo cover, pantomime, cycloramas.

37.30

 

323

Jade

Use for underwater scenes, cycloramas, backlighting.

31.00

 

325

Mallard Green

Good for mood setting, undergrowth.

7.07

 

327

Forest Green

Deep green, sinister forest scenes, cycloramas, backlighting.

4.37

 

328

Follies Pink

A vibrant, almost fluorescent pink with a cool component. Traditionally a special effects color in Broadway musicals, followspot and dance.

20.41

 

332

Special Rose Pink

Extremely intense, hot pink. Produces strong washes of color for concert and dance. Combine with turquiose for great sculptured effect.

10.60

 

341

Plum

Romantic, atmospheric set lighting.

19.31

 

343

Special Medium Lavender

Highly saturated, good for side and backlighting and non-realistic effect.

5.86

 

344

Violet

Dusk effect, good skin tones, romantic effect.

19.85

 

345

Fuschia Pink

Musical revue, pantomime, sultry scenes.

14.30

 

352

Glacier Blue

Cold blue, good for cool atmospheric mood setting.

23.31

 

353

Lighter Blue

A clean slightly green blue. Good moonlight fill.

40.93

 

354

Special Steel Blue

Cooling blue-green wash for stage and set lighting.

39.19

 

363

Special Medium Blue

Cool moonlight, mood effects.

4.17

 

366

Cornflower

Seasonal mood lighting, pale moonlight.

18.16

416

3/4 White Diffusion

Similar characteristics to 216, but less dense.

50.00

 

441

Full CT Straw

Converts daylight to tungsten light with yellow bias - 6500K to 3200K.

57.30

 

442

1/2 CT Straw

Converts daylight to tungsten light with yellow bias - 6500K to 4300K.

71.20

 

443

1/4 CT Straw

Converts daylight to tungsten light with yellow bias - 6500K to 5100K.

79.80

 

444

1/8 CT Straw

Converts daylight to tungsten light with yellow bias - 6500K to 5700K.

83.10

450

3/8 White Diffusion

Similar characteristics to 216, but less dense.

63.00

452

1/16 White Diffusion

Similar characteristics to 216, but less dense.

>85.0

480

Full Atlantic Frost

A moderate frost that creates a soft even effect.

--

481

1/2 Atlantic Frost

Similar characteristics to 480, but less dense.

--

482

1/4 Atlantic Frost

Similar characteristics to 480, but less dense.

--

 

5017

Light Flame

 

56.00

 

5018

Flame

 

56.00

 

5041

Salmon

 

24.00

 

5042

Deep Salmon

 

8.00

 

5047

Light Rose Purple

 

16.00

 

5059

Indigo

 

2.00

 

5077

Green Blue

 

9.00

 

5084

Damson Violet

A deep rosy violet for saturated washes and modelling effects.

5.00

 

5085

French Lilac

An intense, warm lilac for romantic and non realistic accents. Enhances dimensionality when used as a sidelight.

6.00

 

5201

New Schubert Pink

 

28.00

 

5202

Max Blue

A half blue useful for cooling incandescent towards daylight. Clean with no red.

55.00

 

5205

Turquoise

 

18.00

 

5207

Lyric Blue

 

10.00

 

5209

Dew Berry

 

3.00

 

5211

Ice Blue

A subtle theatrical color corrector. Perfect to pull the red edge off of a tungsten source.

66.00

 

5264

Venetian Blue

A pale steel blue useful in cool washes. Create subtle shadows or hazy blue skies.

42.00

 

5287

Fuji Blue

A neutral medium blue that can be warm or cool when paired with contrasting colors. A nice intermediate hue for transitions into evening.

7.00

 

5318

Mayan Sun

 

52.00

 

5321

Soft Golden Amber

 

43.00

 

5336

Aztec Gold

A burnt amber with a touch of sepia and a honey-like quality. Very versatile, from soft sunlight effects to richly dingy interiors.

55.00

 

5376

Bermuda Blue

 

6.00

 

5378

Twilight Blue

 

15.00

 

5404

Wisteria

Soft, pale lavender. Excellent area wash. Good as an intermediary between amber and blue.

58.00

 

5423

Barely Blue

 

42.00

 

5426

Blueberry

 

24.00

 

5429

Lapis Blue

 

15.00

 

5431

White cap

 

72.00

 

5433

Surf Blue

 

63.00

 

5436

Capri Blue

 

50.00

 

5439

Riviera Blue

 

39.00

 

5454

Olympia Green

A strong Green-Blue. Use as an interesting component in animated water effects or to create a mysterious, spooky atmosphere.

11.00

 

5455

Tarragon

A true pale green neither too blue nor yellow. Useful for forest and garden color washes or foliage shadows in gobos.

54.00

 

5461

Grotto Green

An exotic turquoise green. A great modelling color -- back, side or top light in musical performances or dance.

17.00

 

5463

Prussian Green

A rich blue-green useful for accents and effect lighting in pantomimes and melodramas. Wonderful contrast to strong golden ambers.

8.00

 

5489

Sunset Pink

 

38.00

 

5499

Hyacinth

 

18.00

Icon: Theatreshop

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