-
mattebox and filters?
Hi!
I got a MatteBox to my SONY PD150. I Will take interviews with Chimera and dedolight and I might want to use some filters.
I don’t know anything about filters, so I need som guidance. I have a variety of 4×4 and 3×4 filters (and my mattebox can do both).Any suggestions?
Additional question: Is there another name for Clear filter? I’m searching for one in this prod house, but cant find one.
-
7 Replies
-
Personally, I do all effects and color treatment in post – but that can be time-consuming.
Generally, I don’t leave home without a .3 and .6 ND (Neutral Density) filter, to control the amount of light hitting the lens without having to stop down the iris.
That way you can upen up the iris (although I’m not sure there’s actually an iris on the PD150…) to keep a short depth-of-field which you usually want for interviews.
Are you mostly shooting interiors?
For outdoors something like a Tiffen Ultracontrast and a polarizer are handy. I’m not a big fan of grads, although an ND grad can come in handy to avoid blown-out skies.
https://www.tiffen.com/products.html?tablename=filters&filter_format=Larger%20Format
Bar3nd
Forum COWmunity leader for:
ADOBE AFTER EFFECTS
MAGIC BULLET SUITE
INDIE FILM & DOCUMENTARY -
NDs and a Polarizer, I fully agree with bucking the trend of calling attention to yourself by using heavy handed grads.
Chris
-
Filters generally come in 2 major catogories. Color correction or control and diffusion. There are of course specialty filters, such as diopters and other effects filters. So with this in mind you need to decide what you are needing for each application. You mentioned interviews. Maybe consider a slight diffusion on subjects with rougher complexion or maybe a warming filter to warm up the look. soft efx, pro mist and classic softs are good things to start with. Just experiment, that way you know what you are getting.
Todd McMullen
Flip Flop Films
Austin
Cinematography Forum Leader -
We use a 1/2 black pro-mist and an 812 warming filter. a .3 and .6 are a necessity in every kit. Because we are in Arizona and have gobs of sunlight, we use .3 and .6 grads to lessen the sky outside.
No matter what, always use some kind of glass in front of your filter. We found three tiny nicks in the front glass of our $30K HD lens a week ago and it’s going to cost $1500 to fix it. On a feature film shoot a while back, we had to shoot a helicopter landing in a field. We had a large, polycarbonate shield in front of us but the PAs got scared and dropped it and we got hit with a blast of dirt. It only took a few seconds for the damage to happen.
-
Make that a 1/4 black pro-mist and an 812. They also have a warm pro-mist that will probably take the place of both.
-
I think by “clear filter” you are probably looking for a UV Haze filter. It has little to no effect on the image you capture — other than knocking off some of the “haze” you get sometimes on bright days — More important, a screw-on UV Haze filter, normally under $50, protects your much more epensive camera lense.
WAKA
-
[Steve Wargo] “Make that a 1/4 black pro-mist and an 812. They also have a warm pro-mist that will probably take the place of both.”
I have a Tiffen Warm polarizer that I’m particularly fond of…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net
Reply to this Discussion! Login or Sign Up