Designer Josh Epstein shares why the realistic tungsten & evocative colors produced by Rosco’s Miro Cube 4CA makes it an excellent LED footlight solution.
Lighting Designer Christina Watanabe describes how she created passion on stage for a production of “The Wild Party” by using Rosco’s vivid Storaro colors.
Lighting Designer Cha See describes three Rosco solutions she used to create green light in her design for a NYTW production of the play “Houseplant.”
Lighting Designer Edward Hansen explains why the Rosco I-Cue Moving Mirror is an “incredibly versatile tool” – especially for venues with a limited number of light fixtures and dimmers.
Lighting Designer Bradley King explains why and how he chose the Rosco Braq Cube 4C as the footlights in his his Tony Award®-winning lighting design for the hit Broadway musical “Hadestown.”
Lighting Designer Robinson Wilson allows the Rosco Color of the Week posts he sees on our Facebook page to inspire him to try new colors and color combinations in his work.
While designing a one-man show, LD Jimmy Lawlor determined that he needed to make the venue’s LED Par lights more versatile. That’s when he discovered Rosco’s OPTI-SCULPT beam shaping filters.
Scenic and Lighting Designer Paul Yeates created a “UV-blueprint” scenic effect using a combination of Rosco UV scenic paint and Rosco UV LED fixtures.
Lighting Designer Cory Pattak designed a pair of custom glass gobos for a production of “1776.” Those two gobos are now available to everyone because we recently added them to our library of standard gobos.
Lighting Designer, James K. Davis, shares a useful, low-budget, low-tech solution for blending projections from two projectors onto one surface.