AVE-AudioVideoElectric

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sunny spring mornings. (Transmission = 85%).

Sunny spring mornings. (Transmission = 82%).

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

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

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

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

Used on foliage in moonlight areas or for creating a mood of mystery. Good for toning scenery painted in blues, blue-greens and greens. (Transmiss...

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

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

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