We carry all types of 4 x 5.65 filters Neutral Density, diffusion and polarizers from Schneider, Tiffen and NiSi.
These filters reduce the amount of light passing through the camera lens without changing the color of the scene. They are especially useful in bright light conditions to help prevent overexposure. Neutral Density filters also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. Each Density increase creates a 1 Stop decrease of light intensity.
The IR ND is a combination of both an infrared control filter and a neutral density filter. An IRND is ideal for HD cameras, which have greater low-light sensitivity and, subsequently, an increased susceptibility to IR contamination. When using a standard neutral density filter to counter the increased light sensitivity afforded by the HD sensor, the effects of infrared pollution become more apparent. This filter combines an ND filter with a comparable IR control filter to eliminate the spill of infrared light reaching the sensor while still maintaining the extra exposure benefits of a neutral density filter. Each Density increase creates a 1 Stop decrease of light intensity.
50% of this filter is clear and 50% has a Neutral Density of 0.3 (1 stop), 0.6 (2 stops), 0.9 (3 stops) or 1.2 (4 stops). The transition from clear to ND is done with a soft edge transition line. Soft edge grads lines are used with wide angle and normal focal length lenses. Graduated Neutral Density filters are used to balance exposure within a scene. One common use is to balance the exposure of sky and earth in a landscape, avoiding overexposed blank white skies.
50% of this filter is clear and 50% has a Neutral Density of 0.3 (1 stop), 0.6 (2 stops), 0.9 (3 stops) or 1.2 (4 stops). The transition from clear to ND is done with a hard edge transition line. Hard edge grads lines are used with wide angle and normal focal length lenses. Graduated Neutral Density filters are used to balance exposure within a scene. One common use is to balance the exposure of sky and earth in a landscape, avoiding overexposed blank white skies.
This is a subtle and effective softening filter that can be used freely without fear of compromising the high quality of modern lenses. They will diffuse and blend small wrinkles and blemishes, while maintaining a high standard of image quality and a sharp overall image. This combination diffuses the image while maintaining overall sharp focus. Each Density increase increases the softness of the image.
Soft/FX reduces the sharpness and resolution of an image. This is by dispensing many different strengths of oval lenslets within the laminated glass. The resulting image is effected in a slightly different way compared with the acid etching of a digital diffusion filter. Due to the size in which the internal lens can be produced, the light that is bent on these internal lenses is bent on an overall effect of the image. Therefore, the softness is more widely spread over the image, meaning the resolution is reduced to a greater degree at a lower density.
Glimmerglass is a line of diffusion filters that produces a soft clean halation around practical and specular light sources, while keeping an apparent sharpness on the overall image. On close ups, the apparent sharpness and fine detail is kept as the effect of the filter lowers contrast while softly rolling into the shadow area. This low contrast affect moderately mutes bright colors. This makes the lower end of the glimmer glass diffusion line produce a non-destructive or invasive look.
The Pro-Mist filter is a popular motion picture effect that creates a special "atmosphere" by softening excess sharpness and contrast. It generates a pearlescent halo around highlights. Lighter grades are useful in toning down the excessive sharpness and contrast of contemporary film and lens combinations.
The Black Pro Mist's unique layering of contrast, combined with a gauzy paint like halation, functions as a twist on the stand of the pro halation spill effect. Even at its lowest density, it delivers an effective and increase in the halation which adds a pleasing depth of warmth, but is not transported to the skin tone values.
These filters remove unsightly blemishes and wrinkles while providing an airbrushed texture to the image. Pleasant softening of bright highlights helps control the exposure, while maintaining rich blacks and colors.
Low Contrast filters create a small amount of “localized” flare near highlight areas within the image. This reduces contrast by lightening nearby shadow areas, leaving highlights almost unchanged.
The Ultra Contrast uses the surrounding ambient light, not just light in the image area, to evenly lighten shadows throughout. Use it where contrast control is needed, without any other effect on sharpness or highlight flare being apparent.
The True-Streak Blue simulates the anamorphic blue streak effect with virtually any lens, anamorphic or not. Long, brilliantly colored streaks emanate from bright lights and highlights. The mm spacing refers to the distance between the lines in the filter, which are actually very narrow-diameter cylindrical lenses, embedded in the glass.
The imaging devices in HD (high definition) cameras are inherently sensitive to infra-red (IR) light because they do not incorporate an internal infrared blocker. Not only does infrared bleed make it difficult to focus, but it may result in footage with a magenta cast. Hot Mirror filters are the perfect solution for IR pollution with no appreciable reduction in visible light transmission.
The Multi Rota Tray is a geared rotating tray that allows the use and rotation of a 138mm Circular Polarizer in a 4×5.65 tray and is ideal for matte boxes without a rotating filter stage, or for those instances where a secondary rotating filter stage is required in a non-rotating stage. The Multi Rota Tray is designed to fit into a variety of Matte Boxes which conform to ARRI R2 4x5.65 design standards. The Circular polarizer diffuses 1 Stop.
Polarizers are commonly used to control glare on water and to allow the camera to see below the surface. They are also used to reduce glare on car bumpers and to control reflections on plate-glass windows. Polarizers are so versatile that they can perform the opposite functions as well. Some cinematographers use polarizers to increase or enhance reflections, simply by changing the filter’s setting. The Circular polarizer diffuses 1 Stop of light.
The clear filter helps protect your lens from dust, scratches, dirt, moisture, fingerprints and more. Available in standard coated and uncoated, and water white deluxe and premium.