Lighting Designer Don Darnutzer used a combination of handmade lighting masks & Rosco patterns to create mountainous gobo projections for a production of “Carmen.”
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 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.”
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.
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 Jane Cox shares her thoughts on “Color and Light,” as well as a few of her lighting techniques after working on “Sunday in the Park with George” at the Guthrie Theater.
Rosco’s own Matt Pagliaro tells how he used Miro Cube 4C units to enhance his rock and roll lighting design for a community theatre production of “Rock of Ages.”
Rosco’s Margie Heymann shares her memories about legendary lighting designer Tharon Musser and the impact she had on stage lighting and on Rosco.
A lighthearted, photographic journey from lighting designer Steve Woods who traveled to Paris, along with his trusty roll of gel sheets, to light a show.
Lighting designer Zach Burgess describes how he was able to use Roscolux color filters to bring the magical world of Narnia to life for a production of “The Lion, the Witch and the Wardrobe.”