Gel

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)

Double 4215. Pale blue with reddish cast. (Transmission = 42%).

Double 4915. Excellent cool on skin tones. Nice warm tones during nighttime. (Transmission = 47%).

Double 4815. Pretty pink. Slightly more blue than 34. Nice for musicals and "happy" lighting. (Transmission = 61%).

Double 4930. Rich comfortable lavender. Compliments darker skin tones. (Transmission = 29%).

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)

4960 + 4930. Dynamic, lush backlight. More red than 357. (Transmission = 18%).

A rich clean red blue that warms to lavender when dimmed. (Transmission = 15%).

A secondary color combined with 104 Tough Silk.

A rosy amber which produces a romantic sunset color. Useful as sidelight or backlight color. (Transmission = 51%).

A pale blue-green color. Can be used for area lighting. A soft backlight color. (Transmission = 52%).

A clean slightly green blue. Good moonlight fill. (Transmission = 44%).

Good where a tint of color is needed. Excellent for natural skin tones. (Transmission = 78%).

A soothing green blue. More blue than 76. A good conventional moonlight color. Interesting tonal color. (Transmission = 6%).

A clean light red blue. Creates naturalistic daylight fill color. Good cool area light. (Transmission = 32%).

Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops.

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

Useful for mood of mystery and for toning scenery that has been spattered in blues. (Transmission = 35%).

A pink tint that is excellent for most skin tones. A good color for warm area lighting. Lighter than 33. (Transmission = 71%).

Helps maintain white light when dimmer is at low intensity. (Transmission = 54%).

Cool clear bright blue. (Transmission = 8%).

A deep, saturated pink created for musicals and specials. Excellent for down and backlighting. (Transmission = 14%).

Used for dramatic moonlight effects. (Transmission = 18%).

A deep, saturated pink created for musicals and specials. Excellent for down and backlighting. (Transmission = 15%).

Warmer than 10. A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin. (Transmission = 85%).

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%).

Warms light and reduces intensity. (Transmission = 35%).

Suggests reflected light from dense foliage. A brilliant cyc lighting color which will work for chroma-keying effects in television production (Transmission = 40%).

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)

A durable, heat resistant polycarbonate film used in the preparation of color scrollers to allow the passage from a color to clear. (Transmission = 96%).

(Transmission = ).

The slightest blue tint. Excellent for eliminating amber shift when lights are running low on a dimmer. Good for cool area light. (Transmission = 52%).

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%).

A pale green shade of blue; good for area or general washes. Creates an icy feeling on stage. (Transmission = 67%).

A soft medium yellow. Can be used for creating naturalistic effects such as early morning sunlight or for special effects. (Transmission = 82%).

Most saturated Bastard Amber. (Transmission = 62%).

Alternate primary where higher transmission is desired. (Transmission = 13%).

Useful for achieving depressed moods and dull skies. (Transmission = 35%).

Very useful as a backlight. Dramatic specials and firelight. (Transmission = 26%).

Deeply saturated blue with a hint of red. (Transmission = 3%).

Excellent back light. Enhances dimensionality. (Trans.= 10%). (Transmission = 10%).

Provides a romantic sunlight through windows for evening effects. (Transmission = 30%).

Rich, hot pink. Electric in effect with rich saturation. (Transmission = 28%).

More red than 342. (Transmission = 8%).

Warm golden amber with some green. Useful for special effects-candlelight, firelight. (Transmission = 65%).

A yellower (or less red) version of 1/8 CTO. Converts 5500K daylight to 4900K. Deep-dyed base. (Transmission = 92%). (FStop: -0.1s)

Boosts 3200K to 3300K (Transmission = 81%).

Heavier pink-amber tint. Useful for dance. Especially useful when balanced with a cool color. Good general warm tint in striplights. (Transmission = 68%).

Strong red amber. Excellent for fire effects. (Transmission = 20%).

A medium fuchsia good for special effects. An interesting backlight or accent color. (Transmission = 11%).

Warm pinkish amber. Afternoon sunset. Good sidelight. (Transmission = 56%).

Useful for bright musicals. Creates a happy atmosphere. (Transmission = 45%).

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%).

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%).

Frost. Changes ellipsoidal to fresnel beam pattern. (Transmission = ).

Boosts 3200K to 5500K (Transmission = 36%).

A yellower (or less red) version of Full CTO. Converts 5500K daylight to 2900K. Deep-dyed base. (Transmission = 50%). (FStop: -1.0s)

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%).

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%).

A pale blush amber for skin tones and backlight. (Transmission = 69%).

Useful for amber cyc light and late sunsets. (Transmission = 43%).

Distinctive greenish blues. Useful for romantic moonlight. (Transmission = 9%).

Useful in border and striplights to prevent scalloping; helps illuminate cycs and drops.

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

Strong dominant green. Less yellow than 90. "Christmas tree" green. (Transmission = 15%).

Highly saturated, good for side and backlighting and non-realistic effect. (Transmission = 4%).

A yellower (or less red) version of 1/2 CTO. Converts 5500K daylight to 3800K. Deep-dyed base. (Transmission = 73%). (FStop: -0.5s)

A very light frost; good on followspots and PAR lamps. (Transmission = ).

(Transmission = ).

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).

The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres. (Transmission = 2%).

Good to create eerie and mysterious effects. Good for night time water effects. (Transmission = 31%).

Fantasy and unrealistic effects. Unflattering on skin tones. (Transmission = 25%).

Excellent backlight. Gives good visibility without destroying night illusions. (Transmission = 24%).

(Transmission = 61%).

Excellent area light. Light pink-amber tint. Safe for most light skin tones. (Transmission = 68%).

Enhances fair skin tones. Suggests strong sunlight. (Transmission = 56%).

Heavier pink-amber tint. Useful for dance. Especially useful when balanced with a cool color. Good general warm tint in striplights. (Transmission = 56%).

Offers softened beam.Changes ellipsoidal into flood or scoop. (Transmission = ).

Has twin qualities of wide diffusion and warm center. (Transmission = ).

Sunny spring mornings. (Transmission = 82%).

Distinctive greenish blues. Useful for romantic moonlight. (Transmission = 9%).

Neutral greys to reduce intensity without affecting color temperature. (Transmission = 50%).

Lighter than 114. Recommended for followspots and slight diffuse focus for ellipsoldals. (Transmission = ).

Excellent for general area or border light washes. It is a basic followspot color. (Transmission = 26%).

A lighter version on the popular 112 Opal Tough Frost. (Transmission = ).

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).

Similar to 33, but slightly deeper. (Transmission = 66%).

Vibrant red. Good alternative primary. (Transmission = 12%).

General wash. Good for follow spots. (Transmission = 48%).

Similar uses as 37, but with greater saturation. (Transmission = 49%).

Good for eerie or dramatic effects. Beautiful backlight color. (Transmission = 16%).

(Transmission = 55%).

Similar uses to 23 but a bluer color. (Transmission = 34%).

Excellent for general area washes. Gives overall warming effect to skin tones. (Transmission = 44%).

Excellent sky color. Useful for cyc and border lights. (Transmission = 26%).

Useful for beams of realistic moonlight. (Transmission = 26%).

Pale yellow with slight red content. Useful for candle effects. Can be used for area lighting. For bright day feeling. (Transmission = 82%).

Changes ellipsoidal into flood or scoop. (Transmission = ).

Similar characteristics to Tough Frost, but less dense. Tough, heat resistant base. (Transmission not available).

Similar characteristics to Tough Rolux, but less dense. Tough, heat resistant base. (Transmission not available).

(Transmission = ).

Retains the diffusion properties of 104 but with less light loss. (Transmission = ).

Similar characteristics to Tough Silk, but less dense. (Transmission not available).

Removes lens shadows. (Transmission = ).

The most popular diffuser. Similar characteristics to Tough Spun, but less dense. Tough, heat resistant base. (Transmission not available).

Same as 53, but cooler. (Transmission = 37%).

Same intensity as 55 with more red content. (Transmission = 29%).

To simulate unnatural sunlight before and after a rainstorm or tornado. (Transmission = 98%).

Similar uses as 45 where more saturation is needed. (Trans.= 6%). (Transmission = 6%).

Good to create eerie and mysterious effects. Good for night time water effects. (Transmission = 27%).

Good for striplights and specials. (Transmission = ).

Subdued sunset effect. Useful in backlights. To create seedy atmosphere. (Transmission = 14%).

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%).

Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values. (Transmission = 54%).

Especially useful when cross lit with a cool color. Excellent for natural sunlight. (Transmission = 66%).

Good for non-realistic night skies. (Transmission = 4%).

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%).

Helpful in balancing brightness of lamps of different wattage. (Transmission = 25%).

Good for general washes and cross lighting. (Transmission = 46%).

Darkest of the magenta purple range. (Transmission = 4%).

Good red primary for use with three-color light primary systems in cyclorama lighting, footlights, and border lights. (Transmission = 4%).

Deepest of the salmon pinks. (Transmission = 28%).

Pale amber-higher red content than 12. Sunlight, accents, area lighting with caution to skin tones. (Transmission = 68%).

Midnight and moonlight illusions. Enforces mysterious mood. Useful for evening cyc wash. (Transmission = 9%).

Yellow with green. Good for special effects. Unflattering in acting areas. (Transmission = 92%).

A lavender halfway between 52 and 57 in hue and value. Useful for general illumination and side-lighting. (Transmission = 27%).

Musical pink. Lush accents. Very versatile color. (Transmission = 26%).

Excellent for general area washes. Very light cool tint of blue. (Transmission = 66%).

Useful for mood, mystery and toning. (Transmission = 45%).

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%).

Fantasy moonlight. Crisp and beautiful. Popular as a backlight or sidelight in contrast to area light. (Transmission = 4%).

Useful for very light midday skies. Occasionally used for general cool tint. (Transmission = 45%).

Helps maintain white light when dimmer is at low intensity. (Transmission = 62%).

A pale almost colorless pink. (Transmission = 65%).

Slightly off white. Good for interiors. (Transmission = 92%).

Lighter than 100-103. An excellent diffuser for HMI, CID and CSI sources softening the beam slightly while maintaining excellent transmission. (Transmission = ).

The quintessential medium diffuser and our most popular tough diffusion material. (Transmission not available).

Provides a romantic sunlight through windows for evening effects. (Transmission = 32%).

Good for firelight or special effects. Use when red with higher yellow content is needed. (Transmission = 14%).

Deep straw. Good for late afternoon sunsets or firelight. (Transmission = 74%).

A peach amber. More yellow than 305. (Transmission = 79%).

Good for creating an overcast look and feeling. (Transmission = 56%).

Warmer straw. Flattering to skin tones. (Transmission = 86%).

A peach amber. (Transmission = 71%).

A half stop neutral density. (Transmission = 70%).

Use when a touch of color is needed. (Transmission = 64%).

Blue Pink, Use in general washes and toning. (Transmission = 56%).

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%).

Double saturation of 06. (Transmission = 96%).

Sunny spring mornings. (Transmission = 85%).

Good for dense foliage and woodland effects. (Transmission = 56%).

Good for fantasy, moonlight and water effects. (Transmission = 28%).

A good medium cosmetic diffuser. (Transmission = ).

Primary blue. For use with three color light primary system in cyc lighting. (Transmission = 9%).

Primary green for three color primary system. (Transmission = 7%).

Boosts 3200K to 3500K (Transmission = 74%).

(Transmission = ).

A yellower (or less red) version of 1/4 CTO. Converts 5500K daylight to 4500K. Deep-dyed base. (Transmission = 81%). (FStop: -0.3s)

Combine a color with 104 Tough Silk.

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

Densest diffusion of the series. Spreads the light almost 1800. (Transmission = ).

Very pale warm white. Perfect for enhancing the HPL lamp in a Source Four. (Transmission = 88%).

Heavier Amber-pink tint. Useful to create warm sunlight. (Transmission = 55%).

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)

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)

Vibrant Yellow. More red than 312. Less green than all other yellows. (Transmission = 76%).

Vibrant orange-red. Helps red and orange scenery pop. (Transmission = 31%).

Toasted red-amber color. Useful in re-creating setting sun or as a dramatic cyc. (Transmission = 18%).

Warmer and lighter than 31. Good for fair skin tones and to emphasize romance. (Transmission = 68%).

(Transmission = 48%).

(Transmission = 22%).

Powerful magenta-purple. Good effects filter for dance. (Transmission = 6%).

A dusky purple. Good for simulating purple neon or old night club atmosphere. (Transmission = 14%).

A sharp cold blue that stays clean when dimmed. (Transmission = 18%).

More green than 65. A crisp light blue-green. (Transmission = 32%).

A silvery blue, used for front light and moonlight. (Transmission = 16%).

Slightly more green than 69. (Transmission = 22%).

Less red than 3202. (Transmission = 35%).

Slightly lighter and less red than 3204. (Transmission = 55%).

Slightly lighter and less red than 3208. (Transmission = 72%).

For enhancing water scenes or deep sea environments. Greener than 73. (Transmission = 26%).

A crisp, clean blue-green. Useful as a water effect or as a sidelight for dance. (Transmission = 32%).

Medium neutral lavendar. Good wash light. (Transmission = 11%).

Saturated color created for Lighting Designer Mike Baldassari - It's Double #3220 Double Blue (Transmission = 6%).

An intense red-blue. Deeper than 83 with a little more red. (Transmission = 2%).

(Transmission = 32%).

Cyc Wash. Good Costume color. Magical on skin. (Transmission = 20%).

An exagerrated green. Nearly double intensity as 93, less blue than 95. (Transmission = 14%).

A very neutral filter to balance brightness of lamps of different wattage without changing the color temperature. (Transmission = 40%).

Less green & cresper than 76. (Transmission = 11%).

Mired Shift N/A Reduces incident light level by 1/2 stop. Extra-wide 60 in. Optically clear (Transmission = 70%). (FStop: -0.5s)

Mired Shift N/A Reduces incident light by one stop. Extra-wide 60 in. Optically clear. (Transmission = 50%). (FStop: -1.0s)

Mired Shift N/A Reduces incident light level by two stops. Extra-wide 60 in. Optically clear (Transmission = 25%). (FStop: -2.0s)

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).

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).

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)

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)

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)

Mired Shift +131 Standard correction to convert 5500K daylight to 3200K. Deep dyed base. (Transmission = 58%). (FStop: -0.8s)

Combines the effect of the 85 and N.3 filters. Extra-wide 60 in. Optically clear. (Transmission = 33%). (FStop: -1.6s)

Combines the effect of the 85 and N.6 filters. Extra-wide 60 in. Optically clear. (Transmission = 17%). (FStop: -2.6s)

Mired Shift +131 Standard window correction to convert 5500K daylight to 3200K. Extra-wide 60 in. Optically clear. (Transmission = 58%). (FStop: -0.8s)

Mired Shift +320 Converts 10,000K daylight to 2400K. An overcorrection filter designed for special applications. Deep-dyed base. (Transmission = 23%). (FStop: -2.1s)

Mired Shift N/A Reduces incident light level by three stops. Extra-wide 60 in. Optically clear. (Transmission = 12%). (FStop: -3.0s)

Use on scenery and background effects. Adds tone and modeling to scenery. (Transmission = 8%).

A pale blush amber for skin tones and backlight. (Transmission = 75%).

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%).

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%).

Pale evening color. Excellent for backlight. (Transmission = 16%).

A clean pale pink; useful as a blush for skin tones. (Transmission = 80%).

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).

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%).

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%).

Light orange with high blue content. (Transmission = 24%).

General wash. Good for follow spots. (Transmission = 46%).

A deep romantic blue on the red side. (Transmission = 4%).

Very deep amber. Red with a touch of blue. (Transmission = 22%).

Occasionally used for general cool tint and non-realistic washes. (Transmission = 30%).

A sultry, deep purple. Good for musicals or concert lighting. Excellent special effects color. (Transmission = 10%).

Excellent for early morning sky tones. Popular among designers for cyc and borders. (Transmission = 14%).

Clean medium blue. Good for sky color or moonlight. (Transmission = 20%).

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).

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%).

Same as 53, but warmer. Useful for beams of realistic moonlight. (Transmission = 50%).

Greener yellow than 10. Special effects and accents. Use with caution on skin tones. (Transmission = 88%).

Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues. (Transmission = 78%).

Deep rich blue with slight amount of red. (Transmission = 6%).

Touch of color when white light is not desirable. (Transmission = 54%).

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%).

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%).

Virtually weightless gold mirror material that conforms to any shape. Tough, durable base. (Transmission not available).

Virtually weightless silver mirror material that conforms to any shape. Tough, durable base. (Transmission not available).

Boosts 3200K to 3800K (Transmission = 64%).

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%).

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%).

Partial green absorbing filter. (Transmission = 71%).

Adds partial green to balance with fluorescents. (Transmission = 90%).

Similar characteristics to Tough White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).

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 = ).

Adds partial green to balance with fluorescents. (Transmission = 92%).

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 = ).

Similar characteristics to Tough 1/2 White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).

Partial green absorbing filter. (Transmission = 89%).

Adds partial green to balance with fluorescents. (Transmission = 93%).

Converts cool white fluorescents to daylight. (Transmission = 55%).

To balance daylight sources to cool white fluorescents. (Transmission = 76%).

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).

Creates a slash of light for stretching light along stairs, tables, cycs, etc. Diffuses while maintaining compactness of beam. (Transmission = ).

Good on scoops for cyc lighting. (Transmission = ).

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).

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 = ).

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).

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)

A rich clean red blue that warms to lavender when dimmed. (Transmission = 19%).

A cool pink excellent for washes and general illumination. A good follow spot color. A component of early morning sunrise. (Transmission = 55%).

Useful for mood of mystery and for toning scenery that has been spattered in blues. (Transmission = 59%).

Very cold brittle feeling. (Transmission = 10%).

Creates the visual reddish-orange appearance of sodium vapor street lights without the green found in sodium vapor sources. (Transmission = 29%).

Pure, crystalline blue (Transmission = 9%).

Rich deep indigo blue. Slightly more red than 81. (Transmission = 10%).

Rich, Saturated Cyan color. Equals Double #4390 180 Cyan - Great for moonlight (Transmission = 18%).

Deep icy blue with violet undertones. Moonlight illusions. (Transmission = 4%).

A true blue with excellent punch for bright skies. Lovely contrast to pale blues; adds coldness to shadows. (Transmission = 14%).