Cinelux is a selection of color filters from the Roscolux range which are produced in rolls of 48in. x 25ft. (122cm x 7.62m). Cinelux is especially suited for motion picture and television production where larger lighting fixtures are often used, or where color is often mounted on frames in front of lighting fixtures. These colors have been developped by Rosco over the past 87 years, and the dyes are among the most heat stable available.

Available in rolls of 48in. x 25ft. (122cm x 7.62m). If you require rolls of smaller dimensions the Roscolux line of filters is available in sheets 20in. x 24in. (50cm x 61cm) or rolls 24in. x 25ft. (61cm x 7.62m).

 
 
Roscolux #00: Clear
A durable, heat resistant polycarbonate film used in the preparation of color scrollers to allow the passage from a color to clear. (Trans.= 100%).
 
 
Roscolux #01: Light Bastard Amber
Enhances fair skin tones. Suggests strong sunlight. (Trans.= 56%).
 
 
Roscolux #02: Bastard Amber
Good where a tint of color is needed. Excellent for natural skin tones. (Trans.= 78%, -0.4s).
 
 
Roscolux #03: Dark Bastard Amber
Most saturated Bastard Amber. (Trans.= 62%).
 
 
Roscolux #04: Medium Bastard Amber
Especially useful when cross lit with a cool color. Excellent for natural sunlight. (Trans.= 66%).
 
 
Roscolux #05: Rose Tint
A clean pale pink; useful as a blush for skin tones. (Trans.= 80%).
 
 
Roscolux #06: No Color Straw
Slightly off white. Good for interiors. (Trans.= 92%, -0.1s).
 
 
Roscolux #07: Pale Yellow
Double saturation of 06. (Trans.= 96%).
 
 
Roscolux #08: Pale Gold
Warmer straw. Flattering to skin tones. (Trans.= 86%, -0.2s).
 
 
Roscolux #09: Pale Amber Gold
Deep straw. Good for late afternoon sunsets or firelight. (Trans.= 74%).
 
 
Roscolux #10: Medium Yellow
Yellow with green. Good for special effects. Unflattering in acting areas. (Trans.= 92%).
 
 
Roscolux #11: Light Straw
Pale yellow with slight red content. Useful for candle effects. Can be used for area lighting. For bright day feeling. (Trans.= 82%).
 
 
Roscolux #12: Straw
Greener yellow than 10. Special effects and accents. Use with caution on skin tones. (Trans.= 88%, -0.2s).
 
 
Roscolux #13: Straw Tint
Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues. (Trans.= 78%).
 
 
Roscolux #14: Medium Straw
Pale amber-higher red content than 12. Sunlight, accents, area lighting with caution to skin tones. (Trans.= 68%).
 
 
Roscolux #15: Deep Straw
Warm golden amber with some green. Useful for special effects-candlelight, firelight. (Trans.= 65%).
 
 
Roscolux #16: Light Amber
Excellent area light. Light pink-amber tint. Safe for most light skin tones. (Trans.= 68%, -0.6s).
 
 
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. (Trans.= 56%, -0.8s).,
 
 
Roscolux #18: Flame
Warm pinkish amber. Afternoon sunset. Good sidelight. (Trans.= 56%, -0.8s).
 
 
Roscolux #19: Fire
Strong red amber. Excellent for fire effects. (Trans.= 20%).
 
 
Roscolux #20: Medium Amber
Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values. (Trans.= 54%).
 
 
Roscolux #21: Golden Amber
Useful for amber cyc light and late sunsets. (Trans.= 43%, -1.2s).
 
 
Roscolux #22: Deep Amber
Very useful as a backlight. Dramatic specials and firelight. (Trans.= 26%).
 
 
Roscolux #23: Orange
Provides a romantic sunlight through windows for evening effects. (Trans.= 32%, -1.7s).
 
 
Roscolux #24: Scarlet
Very deep amber. Red with a touch of blue. (Trans.= 22%).
 
 
Roscolux #25: Orange Red
Good for firelight or special effects. Use when red with higher yellow content is needed. (Trans.= 14%).
 
 
Roscolux #26: Light Red
Vibrant red. Good alternative primary. (Trans.= 12%, -3.0s).
 
 
Roscolux #27: Medium Red
Good red primary for use with three-color light primary systems in cyclorama lighting, footlights, and border lights. (Trans.= 4%).
 
 
Roscolux #30: Light Salmon Pink
Excellent for general area washes. Gives overall warming effect to skin tones. (Trans.= 44%).
 
 
Roscolux #304: Pale Apricot
A peach amber. More yellow than 305. (Trans.= 79%).
 
 
Roscolux #305: Rose Gold
A pale blush amber for skin tones and backlight. (Trans.= 75%).
 
 
Roscolux #31: Salmon Pink
General wash. Good for follow spots. (Trans.= 46%).
 
 
Roscolux #310: Daffodil
A soft medium yellow. Can be used for creating naturalistic effects such as early morning sunlight or for special effects. (Trans.= 82%).
 
 
Roscolux #312: Canary
Warmer than 10. A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin. (Trans.= 85%).
 
 
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. (Trans.= 58%).
 
 
Roscolux #317: Apricot
A rosy amber which produces a romantic sunset color. Useful as sidelight or backlight color. (Trans.= 51%).
 
 
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. (Trans.= 52%, -0.9s).
 
 
Roscolux #32: Medium Salmon Pink
Deepest of the salmon pinks. (Trans.= 28%).
 
 
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. (Trans.= 39%, -1.4s).
 
 
Roscolux #33: No Color Pink
A pale almost colorless pink. (Trans.= 65%, -0.6s).
 
 
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. (Trans.= 38%).
 
 
Roscolux #333: Blush Pink
A pink tint that is excellent for most skin tones. A good color for warm area lighting. Lighter than 33. (Trans.= 71%).
 
 
Roscolux #337: True Pink
A cool pink excellent for washes and general illumination. A good follow spot color. A component of early morning sunrise. (Trans.= 55%).
 
 
Roscolux #339: Broadway Pink
A deep, saturated pink created for musicals and specials. Excellent for down and backlighting. (Trans.= 15%).
 
 
Roscolux #34: Flesh Pink
Useful for bright musicals. Creates a happy atmosphere. (Trans.= 45%, -1.2s).
 
 
Roscolux #342: Rose Pink
Extremely intense, hot pink. Produces strong washes of color for concert and dance. Combined with a complimentary
 
 
Cinelux #378: Alice Blue
A rich clean red blue that warms to lavender when dimmed. (Trans.= 15%, -2.7s).
 
 
Cinelux #41: Salmon
Light orange with high blue content. (Trans.= 24%, -2.0s).
 
 
Cinelux #42: Deep Salmon
More red than 342. (Trans.= 8%, -3.7s).
 
 
Cinelux #44: Middle Rose
Musical pink. Lush accents. Very versatile color. (Trans.= 26%, -2.0s).
 
 
Cinelux #47: Light Rose Purple
Good for eerie or dramatic effects. Beautiful backlight color. (Trans.= 16%, -2.6s).
 
 
Cinelux #51: Surprise Pink
Touch of color when white light is not desirable. (Trans.= 54%, -0.9s).
 
 
Cinelux #59: Indigo
The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres. (Trans.= 2%, -5.7s).
 
 
Cinelux #60: No Color Blue
Helps maintain white light when dimmer is at low intensity. (Trans.= 62%, -0.7s).
 
 
Cinelux #62: Booster Blue
Helps maintain white light when dimmer is at low intensity. (Trans.= 54%, -0.9s).
 
 
Cinelux #65: Daylight Blue
Useful for achieving depressed moods and dull skies. (Trans.= 35%, -1.5s).
 
 
Cinelux #77: Green Blue
Distinctive greenish blues. Useful for romantic moonlight. (Trans.= 9%, -3.5s).
 
 
Cinelux #80: Primary Blue
Primary blue. For use with three color light primary system in cyc lighting. (Trans.= 9%, -3.5s).
 
 
Cinelux #83: Medium Blue
Good for non-realistic night skies. (Trans.= 4%, -4.7s).
 
 
Cinelux #87: Pale Yellow Green
Sunny spring mornings. (Trans.= 85%, -0.2s).
 
 
Cinelux #88: Light Green (darker)
Sunny spring mornings. (Trans.= 82%, -0.3s).
 
 
Cinelux #89: Moss Green
Useful for mood, mystery and toning. (Trans.= 45%, -1.2s).
 
 
Cinelux #91: Primary Green
Primary green for three color primary system. (Trans.= 7%, -3.8s).
 
 
Cinelux #92: Turquoise
Useful for mood of mystery and for toning scenery that has been spattered in blues. (Trans.= 59%, -0.8s).
 
 
Cinelux #93: Blue Green (darker)
Useful for mood of mystery and for toning scenery that has been spattered in blues. (Trans.= 35%, -1.5s).
 
 
Cinelux #97: Light Grey
Neutral greys to reduce intensity without affecting color temperature. (Trans.= 50%, -1.0s).
 
 
Cinelux #98: Medium Grey
Helpful in balancing brightness of lamps of different wattage. (Trans.= 25%, -2.0s).
 
 
Cinelux #99: Chocolate
Warms light and reduces intensity. (Trans.= 35%, -1.5s).
 
 
Cinegel #3202: Full Blue (CTB)
Standard Tungsten to daylight correction. Boosts 3200°K to nominal 5500°K daylight. Deep-dyed base. (Mired shift = -131, Trans.= 36%, -1.5s).
 
 
Cinegel #3203: Three-Quarter Blue (3/4 CTB)
Boosts 3200°K sources to 4700°K. Used when a partial conversion is desired, or when daylight is below 5000°K. Deep-dyed base. (Mired shift = -100, Trans.= 41%, -1.3s).
 
 
Cinegel #3204: Half Blue (1/2 CTB)
Boosts 3200°K sources to 4100°K. A partial comversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps and yellowed soft lights. Deep-dyed base. (Mired shift = -68, Trans.= 52%, -0.9s).
 
 
Cinegel #3206: Third Blue (1/3 CTB)
Boosts 3200°K sources to 3800°K. 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. (Mired shift = -49, Trans.= 64%, -0.6s).
 
 
Cinegel #3208: Quarter Blue (1/4 CTB)
Boosts 3200°K sources to 3500°K. A partial conversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps or household incandescant sources. Deep-dyed base. (Mired shift = -30, Trans.= 74%, -0.4s).
 
 
Cinegel #3216: Eighth Blue (1/8 CTB)
Boosts 3200°K sources to 3300°K. A partial conversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps or household incandescant sources. Deep-dyed base. (Mired shift = -12, Trans.= 81%, -0.3s).
 
 
Cinegel #3220: Double Blue (2 x CTB)
Boosts 2800°K sources to 10,000°K. An over correction filter designed for special applications. Deep-dyed base. (Mired shift = -260, Trans.= 10%, -3.3s).

DaylightConversion Filters

AMBER–RoscoSun Daylight ConversionFilters are a range of amber filters that lower color temperature as needed. Althoughtypically used on daylight 5500°K sources to balance with tungsten, the range offers amultitude of technical and aesthetic color correction possibilities. The material isdeep-dyed for heat stability and superior color transmission. Rolls 48" x 25' (122 cm x 7.6 m), sheets 20" x24" (50 cm x 61 cm).

 
 
Cinegel #3407: Roscosun CTO
Converts 5500°K daylight to 2900°K. Preferred either for a warmer look or when daylight is over 6000°K. Optically clear. (Mired shift = +167, Trans.= 47%, -1.1s).
 
 
Cinegel #3408: Roscosun 1/2 CTO
Converts 5500°K daylight to 3800°K. Used when partial correction is desired or when daylight is below 4500°K. Optically clear. (Mired shift = +81, Trans.= 73%, -0.5s).
 
 
Cinegel #3409: Roscosun 1/4 CTO
Converts 5500°K daylight to 4500°K. Used when slight correction is desired or when daylight is below 4000°K. Optically clear. (Mired shift = +42, Trans.= 81%, -0.3s).
 
 
Cinegel #3410: Roscosun 1/8 CTO
Converts 5500°K daylight to 4900°K. Used when a very slight warming correction is desired. Deep-dyed base. (Mired shift = +20, Trans.= 92%, -0.1s).
 
 
Cinegel #3411: Roscosun 3/4 CTO
Converts 5500°K daylight to 3200°K. Deep-dyed base. (Mired shift = +131, Trans.= 58%, -0.8s).
 
 
Cinegel #3420: Roscosun Double CTO
Converts 10,000°K daylight to 2400°K. An overcorrection filter designed for special applications. Deep-dyed base. (Mired shift = +320, Trans.= 23%, -2.1s).

STRAW–RoscoStraw Daylight Conversion Filters are a series of yellowish amber filtersthat lower color temperature as needed. The series is offered as a yellower version of thetraditional CTO series and is calibrated to the same color correction and transmissionproperties. The material is deep-dyed for heat stability and superior color transmission. Rolls 48" x 25' (122 cm x 7.6 m), sheets 20" x24" (50 cm x 61 cm).

 
 
Cinegel #3441: Full Straw (CTS)
A yellower (or less red) version of Full CTO. Converts 5500°K daylight to 2900°K. Deep-dyed base. (Mired shift = +160, Trans.= 50%, -1.0s).
 
 
Cinegel #3442: Half Straw (1/2 CTS)
A yellower (or less red) version of 1/2 CTO. Converts 5500°K daylight to 3800°K. Deep-dyed base. (Mired shift = +81, Trans.= 73%, -0.5s).
 
 
Cinegel #3443: Quarter Straw (1/4 CTS)
A yellower (or less red) version of 1/4 CTO. Converts 5500°K daylight to 4500°K. Deep-dyed base. (Mired shift = +42, Trans.= 81%, -0.3s).
 
 
Cinegel #3444: Eighth Straw (1/8 CTS)
A yellower (or less red) version of 1/8 CTO. Converts 5500°K daylight to 4900°K. Deep-dyed base. (Mired shift = +20, Trans.= 92%, -0.1s).

Sun 85 &Neutral Density Filters
These filters are usually applied to windows for color correction and/or lightintensity reduction. RoscoSun 85 is an amber filter that lowers the color temperature ofdaylight to balance with 3200°K sources. Rosco Neutral Density Filters reduce the levelof exterior light and bring it within the exposure range of interior light levels. Twoadditional RoscoSun materials combine Sun 85 conversion with Neutral Density reduction.All materials are deep-dyed for optical clarity. Except as noted, all materials are extrawide 57" x 21' (145 cm x 6.7 m), sheets 20" x24" (50 cm x 61 cm).

 
 
Cinegel #3401: Roscosun 85
Standard window correction to convert 5500°K daylight to 3200°K. Extra wide 57in. Optically clear. (Mired shift = +131, Trans.= 58%, -0.8s).
 
 
Cinegel #3402: Rosco N.3
Reduces light intensity one stop. Extra wide 57in. Optically clear. (Trans.= 50%, -1.0s).
 
 
Cinegel #3403: Rosco N.6
Reduces light intensity two stops. Extra wide 57in. Optically clear. (Trans.= 25%, -2.0s).
 
 
Cinegel #3404: Rosco N.9
Reduces light intensity three stops. Extra wide 57in. Optically clear. (Trans.= 12%, -3.0s).
 
 
Cinegel #3405: Roscosun 85N.3
Reduces light intensity one stop and converts daylight to 3200°K. Combines the effect of 85 and N.3 filters. Extra wide 57in. Optically clear. (Mired shift = +131, Trans.= 33%, -1.6s).
 
 
Cinegel #3406: Roscosun 85N.6
Reduces light intensity two stops and converts daylight to 3200°K. Combines the effect of 85 and N.6 filters. Extra wide 57in. Optically clear. (Mired shift = +131, Trans.= 17%, -2.6s).
 
 
Cinegel #3415: Rosco N.15
Reduces light intensity one half stop. Extra wide 57in. Optically clear. (Trans.= 70%, -0.5s).
 
 
Cinegel #3421: Black Scrim
A perforated material that is black on both sides. Used as a neutral density window scrim. Unlike Silver/Black versions, will not cause unwanted reflections. Reduces incident light level two stops. (Trans.=25%, -2.0s).

Filters for Controlling Carbon ARC & HMI Lighting
A traditional range of filters is also available for Carbon Arc and HMIcorrection. These filters are all designed to reduce color temperature in discrete steps. Rolls 48" x 25' (122 cm x 7.6 m), sheets 20" x24" (50 cm x 61 cm).

 
 
Cinegel #3102: Tough MT2
Used in combination with Y1 for correcting white flame arcs and HMI to 3200°K. Also used as an amber conversion filter for arcs and HMI. Deep-dyed base. (Mired shift = +110, Trans.= 66%, -0.6s).
 
 
Cinegel #3106: Tough MTY
A single filter combining MT2 and Y-1 for correcting 5500°K white flame arcs and HMI to 3200°K. Deep-dyed base. (Mired shift = +131, Trans.= 57%, -0.8s).
 
 
Cinegel #3107: Tough Y-1
A pale straw filter standard in U.S. for use on HMI and white flame arcs to absorb UV and reduce Kelvin for daylight balance. Deep-dyed base. (Mired shift = +45, Trans.= 93%, -0.1s).
 
 
Cinegel #3114: Tough UV Filter
A virtually clear filter that absorbs 90% of UV wavelenghts below 390nm. Absorbs excess UV output of arcs and HMI with minimal color temperature shift. Deep-dyed base. (Mired shift = +8, Trans.= 93%, -0.1s).
 
 
Cinegel #3134: Tough MT 54
A straw correction for white flame arcs and HMI. Deep-dyed base. (Mired shift = +35, Trans.= 83%, -0.3s).

FluorescentLight Filters
Standard U.S. Cool White fluorescent bulbs offer a good approximation of daylightexcept for their distinct green cast. When Cool White fluorescents are encountered in filmor video, two color correction techniques are available: either balance all other sourcesto the fluorescents, or balance the fluorescents to the reference source. Rolls 48" x 25' (122 cm x 7.6 m), sheets 20" x24" (50 cm x 61 cm).

 
 
Cinegel #3304: Tough Plusgreen/Windowgreen
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. (Trans.= 76%, -0.4s).
 
 
Cinegel #3308: Tough Minusgreen
Converts U.S. Cool White or daylight type fluorescent lamps to 5500°K photographic daylight by removing the excess green. Deep-dyed base. Equivalent to CC30 Magenta. (Trans.= 55%, -0.9s).
 
 
Cinegel #3310: Fluorofilter
Converts U.S. Cool White or daylight type fluorescent lamps to 3200°K photographic Tungsten and removes the excess green. Deep-dyed base. (Trans.= 36%, -1.5s).
 
 
Cinegel #3313: Tough 1/2 Minusgreen
Reduces the green output from fluorescent and other discharge sources. Deep-dyed base. Equivalent to CC15 Magenta. (Trans.= 71%, -0.5s).
 
 
Cinegel #3314: Tough 1/4 Minusgreen