GUIDE SUPERGEL Colors touching
Discover the Gelatin Supergel effect.
- SUPERGEL is one of all the existing colored jellies.
- The most heat resistant.
- As it has been developed to withstand the high temperatures of.
State-of-the-art reflectors and projectors, manufactured to the highest safety standards in today’s world, for theater, studios, television, film and events. They are truly self-extinguishing, so they deserve the M1 rating in France and Spain. , B1 in German standards Din 4102-01 and exceed the most demanding new English standards.
The goal of this guide is to help professionals and users explore their creativity through the use of colors and their applications, thus providing amazing and harmonious effects on their shows with the use of Rosco Supergel filters.
This gelatin line has 145 options, including: 129 colors 16 diffusers
Available Formats: Sheets: 50 x 61 centimeters Rolls: 61 centimeters x 7. 50 meters Supergel products are available from all Rosco distributors worldwide. Ask our distributors today or at one of our offices, storefront and technical documentation.
Manufacture of high temperature resistant color filters.
A color filter combines light refractive elements and organic pigments, which can be mixed with a clear base or applied to the surface.
Rosco began producing gelatins (color filters) in 1910, but since 1950 filters have started to be plastic products, of these, polycarbonate is the most resistant material among existing polymers, so it is used in the Supergel line, which is its largest differential. .
Currently three methods are used to integrate pigments into the polymer, creating the color filters described as: surface pigmentation; Deep pigmentation; Colorful body.
Polyester with surface pigmentation
The easiest way to produce gelatin is simply to dye the surface of a plastic film base. Polyester film (PET) is widely used as a base for coloring, as its cost is very low and accepts solvent-based pigments, being dyed with pigments on one or two sides of its surface. Because the process does not use heat to dye the material, the pigment used does not need to be heat resistant.
Test: To identify the filter manufacturing method, switch from solvent (remove) to film. If the paint is removed, it is a film with surface pigmentation.
Deep pigmentation polyester
Also produced in transparent polyester, the film receives in this process a hot solvent bath and added color pigments. The solvent inflates the film, widens the polymer structure and allows molecules to penetrate the surface. The film is then washed and the polymer returns to its original shape, trapping the pigment molecules below the surface, i. e. a higher temperature is required for the colored particles to reach the surface, making it difficult to color loss.
Body in colored polycarbonate (Supergel).
In this filter, the dye is inherent in the base of polycarbonate, changing the coloring process, which will start with a powdered resin and a color pigment, subjected to an intense pressure and temperature of up to 315 degrees C, forming the mass of molten resin and color. pigment with a honey-like texture.
This mixture is extruded through the holes of the film and gives rise to the colorful body, which is the film 61 cm wide. The excellent quality of this filter is the result of its incredible ability to withstand high temperatures, combined with the unique technique of sealing the color between layers. For the color to fade by sublimation, molecules must migrate outside the inner layer of colored mass and also through the transparent layers that seal the film. The pigment of any color filter can eventually migrate from the area that is subject to greater heat, being directly related to the dyeing method of the filter. This way, a color filter dyed only on the surface fades faster than a sealed filter.
Scene lighting
In a production, stage lighting is more than just lighting the actors and the stage, it is an art, because any decision made by the lighting designer must contribute to the emotion and feeling of the audience watching the show. use are probably one of the most important in theater, shows and events, since all the visual references of the audience are more related to the colors than to any other variable, which helps to get the expected reaction for each word, sound and action performed on stage. In addition, the lighting of a show has many functions in modern productions, since it can illuminate the actor and the stage or simply reconcile them and even add information such as: Time, place and space. Fully controlled A wide range of variables can be selected and modified to make the task more and more successful. These variables include contrast, texture, intensity, color, and movement, which create the ideal atmosphere. sphere of sensations and emotions.
Color of the scene.
Man usually perceives sensations through the colors of the environment, that is, it is the most significant variable in terms of emotions The main objective of this guide is to show the application options in the process of creating a light designer, since Rosco has a wide variety of quality filters and that can be applied in different ways , to ensure the expected result. A color among a wide variety of colors available, you have to try your best to get the best result, combining the lighting, the scene and the emotion attributed to it, that is why the work of the lighting professional is so fascinating.
Why ?
Colorful lighting is the result of three criteria
All colors go very far until they are perceived by the brain, which can influence how the audience sees them. For this reason, the choice of the predominant color that will illuminate the show is generally studied and selected by the director. The variation of colors and the scene to be illuminated is the responsibility of the lighting designer, with the aim of promoting the correct reaction of the viewer, adapting the light to the scene in question. To control the intensity, texture and color to be placed on the scene, it is important to know how to choose the equipment. High intensity tungsten halogen lamp light sources (650w to 2000w) generally exhibit cooler and better quality colors than low intensity ones (200w to 500w), improving and allowing better results when using color filters. A colored filter placed in front of a light source is the best way to change the color of the light. Normally, in modern stage lighting, the light is colored with a self-extinguishing color filter in case of fire. The Rosco Supergel line offers more than 140 colors, as well as diffuser filters and other materials that can be used to modify or adapt the quality of light generated by reflectors.
How?
The good thing and the best for the production of a show, is to choose the colors in the development of the project, when interpreting the work note in the margin the idealized color for the stage, paying attention to the theme, talking about the actor, the music and the action of the moment, for example a sunset. Adopting this procedure can be very useful and facilitate production work. Even if previously selected colors are not used, they help the lighting designer make a room index with keywords, such as anxiety or murder, in which he expresses his feelings. Emotions when reading a play.
Coloring the lights of the scene
The colors of the lights that illuminate the scene can be sorted into several families, with such a variety of colors available, they need to be categorized to help the designer make the right decisions as quickly as possible during production. means that they remove the light colors associated with color. filter. For example, a red filter removes blue and green from the spectrum and only lets red pass. Blue and green lights are absorbed by the filter as heat and some of that light can also be reflected.
Families
The categories are widely used to analyze the different color options, but the art developed by the lighting designer should always be based on personal perceptions and sensations and not simply stick to rules that limit the professional, which block boldness and creation on the spot. .
white light
Is this an early stage – test? No color filters. The color of this light may vary depending on the type and intensity (watts) of the lamp that illuminates the scene and also, depends on the settings of the attenuator, that the lower the color, the color closest to amber.
Saturated
Saturated colors are blue, red, and green. The greater the proximity of the primary colors, the more saturated the color. Being the theoretically pure colors, a lot of light is filtered and therefore more light is needed to achieve satisfactory lighting. As they are very strong, saturated colors should be treated carefully to illuminate the scene, as they radically change the color of the actors. and decoration, which can cause adverse effects and fatigue in the eyes of the public.
Pastries
They have a low concentration of filterable elements and therefore provide colors very close to white light, allow high light transmission and are therefore very effective for stage lighting. Another application that allows good results is to illuminate the faces of the actors or highlight the colors of the costumes and decorations.
Corrective filters
The popularity of these filters is increasing, especially in realistic dramaturgy. This family includes everything from color correction filters (blue and amber) developed for film and television, to chocolates and grays.
intensity
The color in the theater, as we have already seen, is the result of the font, filter and theme, the stronger the color used, the more the audience perceives color and lighting, mainly because objects of neutral colors placed on the stage, after being illuminated with vivid colors, acquire bright and bright tones. Green, in particular, requires attention, not only because it is not a complementary color to the color of human skin, but also because the eyes are more sensitive to this color of the spectrum.
Positioning the color
In the vision process, the brain relies on various image references, so you can use these light conventions and stored knowledge to create the geography, time and excitement of the room. For example, when it has a landscape with a blue-toned atmosphere, it means you’re away from the observer, because blue light is concentrated in front of the eye, so objects seem more separate, so if you use a blue light at the back of the stage, the perspective of the scene increases. Another case is, a cold-colored backlight aimed at an actor in the face of a cyclorama illuminated with red and amber tones, manages to insert it into the landscape, increasing the effect of dimension and perspective. Colors seem to have different weights in a cyclorama, or on a vertical plane of a scene. For example, greens and blues become more “heavy”: red and amber. The more saturated the color, the more weight it will have compared to pastel colors.
The range of lighting colours
Lighting colors cannot be limited to the Rosco Supergel display case or this guide. By mixing filters, both adding and subtracting, you can get unlimited color combinations.
Additive mix
Two or more lights are mixed with different jellies, changing the attenuator settings. An example is, three reflectors with red, blue and green filters, when the beams of light mix, there is a white light.
Sustrous mix
Two or more sheets of gelatin are placed in a reflector and the colors are subtracted from white to give mixed colors. For example, amber and lavender lights give the color of heated steel.
Multiple mixing
Two or more jellies are placed in the same reflector, so that each occupies only part of the lens, so that, with a single light, an additive mixture can be made and an image with two colors can also be projected when using gobos.
Supergel
roses
The pink scale is widely used on stage, as it promotes warm skin tones and softens daylight. Pastel tones are good for illuminating the main areas of the scene, especially when using cross light or front light. The saturated shades of pink, added to a cyclorama illuminated in blue, give a beautiful sunset effect. They can also be used in musicals and comedies, without the need to naturally illuminate the faces of actors.
Examples: Saturated tones: 43-Deep Pink and 339 Broadway Pink
Cakes: 30 pounds – Light salmon pink and 38 pounds – Light pink.
amber
It is used to illuminate the main scene and also for sunlight and interior effects. Saturated amber is always used for the composition of general light, but care should be taken not to contrast it with cold colors such as blue. Pastel tones are ideal for meat tones and due to the high light transmission capacity, they can also be used in low intensity reflectors. Examples: Saturated tones: 20 -Medium Amber and 21-Golden Amber. Pastels: 23 -Orange and 317 -Abricot.
Red
They are often used in theatrical productions, but these colors rarely succeed. All reds are saturated and create extreme effects when projected onto the Stage. They can be used for fire effects or musicals, but for lighting works, the color should be dimmed. in another softer light, so the audience can see it more balancedly. It should be remembered that dark red does not go well with fleshy tones and certain materials and fabrics used in costume making.
Examples: Saturated tones: 19 – Fire and 27 – Medium red
veg
Used with care, you can make a general before overlaying pastel, amber and white lights, they are not favorable to skin tones, but if used with caution (perhaps with amber in the same reflector), they are ideal for light and sea scenes. outdoors they are also not suitable for cyclorama lighting.
Examples: Saturated Tones: 89 -Moss Green & 94- Kelly Green
Cakes: 86 euros –Pea Verde and 96 -Lima.
Lavender
They are widely used because they are between warm and cold colors, being complementary for both amber and pink as well as blue and light green. The pastel tones are almost white and are widely used to show actors on stage. Side light with lavender tones can be excellent for modeling a white light front light.
Examples: Saturated tones: 48 -Rose Purple and 57- Lavender
Cakes: 55 pounds – Lilacs and 52 pounds – Transparent lavender.
Blues
They allow a wide variety of color effects, from daylight on a winter morning to moonlight. Saturated blues are perfect for backlighting and cycloramas, while cakes give birth to a high-tech look. Background and side lighting at low levels can sculpt the shape of the human body and face. General front light with white light or lavender reveals realism to the scene. Blue absorbs a lot of light, so high-intensity reflectors should be used with a 1Kw Par or Fresnel lamp.
Examples: Saturated tones: 70 euros -Nile Blue and 82- Surprise Blue
Cakes: 63 pounds – Pale blue and 65 pounds – Light blue.
Color control
The color selection process must be performed during the development of the production lighting scheme. Any decision on lighting should be made taking into account the color of the show. If the show is going to be hyperrealistic, you should not use saturated colors and if the lighting equipment is low intensity, you should avoid the use of amber, as the result can be unpleasant.
For more information, simply download the Rosco Supergel guide at the following link:
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Abdominal!
Fernando Rozzo