Pro Moviemaker Autumn 2018

GROUP TEST GEAR

FILTERS We look at filter options on everything – frommirrorless to cinema cameras WHICH FILTER?

WORDS ADAM DUCKWORTH & KINGSLEY SINGLETON

I f you’re the sort of filmmaker who uses the term “I’ll fix it in post” a lot, then you’re missing a huge trick. Getting it right in camera is what all professionals should strive to do. It saves hours in front of a computer, and of course there are lots of things that are near-impossible to properly fix in post, such as incorrect white-balance, exposure and depth-of-field. Add to that list the effects that can only be done in capture, made possible by careful use of filters, such as being able to set the aperture you want by controlling the exposure using ND filters, or a polarising filter that not only gets rid of reflections but also deepens colours, especially skies. How about a graduated ND filter to help washed-out skies, bringing the tonal range back to where it can be handled by the dynamic range of your camera? It’s no surprise these are the three must-have filters that every filmmaker should own (as well as a UV filter for cutting out ultra violet light and even protecting your lens’s expensive front element). Film crews have huge cases full of filters to fit to their lenses, and although that’s out of reach for most independent

filmmakers, a selection of the most useful filters should be on your shopping list. With many filmmakers using DSLR or mirrorless cameras, we’ve taken a look at drop-in filters and filter kits on the 100mm size frommany of the top brands. These are typically very affordable as they are predominantly designed for stills photography and are built to fit on large, professional glass. Some systems can be bought piecemeal while others are bought as kits – to fit them to different-sized lenses you just need to buy the right-size adapter ring. We tested these systems using a full-frame Nikon D850 with 16-35mm f/4. Moving up to more professional systems, we also tested a range of drop-in cinema filters from Schneider and Formatt- HiTech, which are designed for the ultimate in quality for the very best TV and film productions. We tested these on a Sony FS7 fitted with a pro-spec but lightweight Vocas matte box system. And finally, we look at the filter every filmmaker should own, a variable ND. It’s the one must-buy filter that allows you to get the exposure right in bright light.

LEE FILTERS 100MM FOUNDATION KIT £100/$80 www.leefilters.com

are easily adjusted as the bays are short enough for even 100x100mm filters to leave graspable edges; they cost from around £100/$120, and there’s an extensive range. A polariser can be attached using the 105mm accessory ring (£34.99/$40), and costs £179/$235. Being on the front means you don’t need to remove the holder to take it off, but it does cause vignetting in that position. With two bays at 16mmwe saw no vignetting, but it crept in from 17mmwith three. With two bays, adding the polarising filter saw vignetting from 18mm. With one bay and polariser there was no vignetting. PROMOVIEMAKERRATING: 9/10 Well designed, well-built and top- quality optics Pros: The industry standard Cons: Some vignetting at wider settings

Lee Filters is a mainstay for professional photographers, and it’s clear why. The 100mm system is well designed and highly adaptable, built around the Foundation kit, a light and beautifully machined resin and brass holder, available on its own or in kit form. There are two types of adapter ring, a standard and wide-angle version to reduce vignetting from the holder. We went for the latter, which screws in easily, while the holder mounts via a sprung brass clip. Once seated, it rotates smoothly and securely in the adapter’s groove and the knurled clip sits a long way proud of the holder, so it’s easy to operate. A padded nylon case is included along with a screwdriver, and an extra set of blades increases the supplied two- filter bays to three. Lee’s 2mm- thick filters slot in smoothly and

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PRO MOVIEMAKER AUTUMN 2018

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