‘On-Camera’ diffusion is a wonderful tool for removing the ‘digital’ look of modern-day cameras. A mild diffusion filter is very often the choice of Cinematographers because it flatters the skin tones of actors. Formatt Hitech having been making a range of diffusion filters for the last two decades.
They have a significant advantage over using vintage optics in that they can be reliably repeated across cameras and lenses. They are also more versatile with modern lenses and the effect can be added instantly, but also removed, giving a filmmaker more flexibility. The wide range of density also allows for a Cinematographer to dial in just the right amount of effect on set.
While it is true many effects can be added in post-processing, this is a slower and often costly exercise. With a filter, you are getting instant onset feedback giving the Director and the Cinematographer the ability to bake the effect into the image. Optical filters also interact with what is actually there, without the need to do complex grades and use tracking nodes, they give an instant representation of the lights within a space and interact with them in an organic analogue way.
There are generally four types of diffusion filters:
- Creating romantic moods or period drama images by reducing picture contrast in the lowering of the whites.
- Increasing the levels of black exposure by using low contrast or black fog filters.
- Complexion or image softening filters by altering the resolution to mask blemishes, wrinkles or skin imperfections.
- Refractive filter that affects mostly the highlights creating halation.
Soft Silver 1/2 example London from Formatt-Hitech on Vimeo.
A quick example of a Soft Silver 1/2 at night in London shot with a Black Magic Design Pocket Cinema 6k
Soft Silver 1/8 from Formatt-Hitech on Vimeo.
Test shots of the Formatt Soft Silver 1/8 shot by Formatt Hitech Ambassador Antonio De Rosa, AIC-IMAGO.
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THE NEW FIRECREST HOLDER MKII ATTACHED TO A TOKINA 11-20 T2.9 AND BLACK MAGIC POCKET 6K. WHEN PAIRED WITH THE FIRECREST ULTRA RANGE OF FILTER ALLOWS YOU TO GET CINEMA-QUALITY ND AT A FRACTION OF THE WEIGHT
A bigger polariser giving you a wider view
With recent developments in optical design, it has become more common for lenses to have larger threads. To accommodate these advancements we have expanded our CPL (circular polarising filter) to 86mm. This means wider compatibility and better performance on a range of new wide-angle lenses. It also makes it compatible with a range of cinema lenses such as the Tokina 11-20MM T2.9.
The polariser can be fitted into either included rotating ring adapter, and becomes an integral part of the holder. The polariser is operated with an easy to use thumbscrew. This allows you to set your grads and then dial in the exact
polarising effect you want. Due to its free movement, this means you can leave the polarising filter (CPL) attached at all times and simply turn off the effect if not wanted. The construction of the filter also means you can use the CPL filter as an independent filter without the need of the holder.
More step rings, more flexibility.
For improved performance on an even wider range of lenses, the holder now ships with two rotating adapters as standard. These adapters allow the lens to sit closer to the filters helping with wide-angle photography. The kit
includes an 86mm - 86mm rotating adapter and a 86mm - 82mm adapter. For best performance on 77mm and smaller wide-angle lenses, it is recommended to use the included step rings from the 86-86mm rotating adapter.