This Roscolux #26 Light Red Sheet is part of Rosco's premier range of filters that are manufactured using a unique technology to insure the longest possible life under hot theatrical lights.

Three discrete layers are combined in a tri-extrusion process. By sealing the colored layer between two microscopically thin layers of clear film, dye migration is minimized and effective life is extended.

Heat-Resistant

Related Questions and Answers

Q: 1. How can you get it fit to a studio strobe with a 7 Bowens reflector for lower the light?

A: They are trim to fit.

Q: 2. I asked abbout floppy/stiff in my last question, but the answer seems conflicting. If it's 3mm thick, is it really floppy? That's pretty thick for floppy.

A: This material is not 3mm it is probably 3 mil, which is much thinner than 3mm and is very pliable.

Q: 3. Could this be cut down and used in the filter stage of a darkroom enlarger to reduce exposure?

A: Yes, the Rosco E-Colour #211 ND .9 Filter (21 x 24" Sheet) could be cut into smaller pieces and used in other contexts, like a darkroom enlarger.

Q: 4. Are these safe for darkroom use?

A: Despite this filter being the same hue of red as a darkroom safelight, it is not recommend for use as such.

Q: 5. Is this an acrylic gel? How thick is it? Can it be cut? Heat resistant enough to put in front of Godox VL 300 LED video light?

A: This Roscolux #26 Light Red Sheet is a deep-dyed polyester material with a thickness of 1.4 mil and it can be cut to size. Rosco lists that the Roscolux filters will soften at 257°F and melt at 572° F based on their tests. When using it on a higher powered LED lamphead like the VL300, it is recommended to use a gel frame that allows greater air flow, such as the Impact Universal Filter Holder - 12x12" (30.5 x 30.5 cm), BH #IMUFHQ. https://bhpho.to/3BDNfnN

Q: 6. How can you get it fit to a studio strobe with a 7 Bowens reflector for lower the light?

A: Just cut it down to size so that about 1-2 inches is overhanging the edge of the reflector. Then either used clips to clip it to the edge of the reflector or wrap the excess gel around the back of the reflector and tape it on. It's also a good idea to cut tiny slits into the part of the gel that is directly in front of the light to allow heat to pass through.

Q: 7. Will this gel melt if I put it on an Arri 1k open face?

A: It depends on how close to the light you have it. These gels are pretty durable and withstand quite a bit of heat but can melt if left near the heat source to long. I don't use your type of lights but I have taped these directly to the front of my dynalite strobes with nothing in between. They get pretty hot and the gels stand up to it perfectly fine as long as you don't just leave them sit there with the lights on for long periods. I usually adjust my lighting then put the gel on and shoot so the gel isn't on for too long. If you use a holder and put a little space between the light and the gel this should definitely work but if you are taping it directly to the light like I do then keep an eye on them because they can melt if left too long with the lights on.

Q: 8. Can this be used with tungsten (hot!) fixtures?

A: You can use this E-Colour #209 filter with hot lights, but leaving air space between the light and the gel would be recommended.

Q: 9. Can I use these sheets to reduce light intensity for food photography in my softbox?

A: These sheets will reduce half a stop of light. You could use them with softboxes for food photography.

Q: 10. What is the difference between this 105 filter and the Rosco cinegel 3006?

A: The Rosco #105 Filter - Tough Spun - 20x24" is a stronger diffusion and blocks more light then the Rosco cinegel 3006. The 105 is around a stop of light and the 3006 is about a 1/4 stop of light.