FS7: Diffusion Filters

Bern Caughey

Bern Caughey

Veteran
Wonder how many of you use diffusion (or similar) filters on the Sonys?

I'll occasionally throw on a 1/8 Black Pro Mist, but like to explore something more subtle that produces just a hint of halation. Just trying to take edge off the Sony's apparent sharpness.
 
I don't use it nearly enough for a myriad of pathetic excuses and reasons.

I do have a set of Black Pro Mist filters and like them a lot but I also think it's kind of subjective and even personal as to what people think its "best".

I actually sought out several light strength double fog filters because I liked the halation it made on light sources and didn't seem to soften the rest of the image too much. What I really hate is when the entire image goes soft or blurry.

This is a pretty good video showing the effects of different filters I'm sure everyone has already seen a million times…

https://vimeo.com/92660033
 
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I was getting a bit of moire with my modern Nikkor lenses when shooting 4K that I wasn't getting with my Nikkor AIS lenses so after watching the Tiffen video I narrowed my choice down to Digital Diffusion FX and the HDTV FX. I bought a HDTV FX 1.0 which works very well and doesn't give any halation around highlights.

I have found the FS7 overly sharp and taking the 'zing' out of modern glass makes 4K much more pleasing on the eye not just the lack of moire. If I had more time I'd like to explore heavier densities of diffusion and see if I can get close to the dreamy soft look of British TV Commercials that's all the vogue at the moment.
 
BPM or Hollywood Blackmagics are grand.

Have a few odd old filters that I snap up if I see them on ebay for cheap.

Double Fogs and LowCons etc.
 
starcentral said:
Anyone try nets behind the lens? I haven't but curious about this.
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Nets behind the lens are a VERY strong look. I've tested them before, but yet to have a project that's called for them. I do however keep a Tiffen Black Net filter that I throw in front of the lens on occasion for a similar look, it really smooths out faces nicely. But it is a heavy grade of diffusion.
 
On an upcoming short film I'm doing I was going to go with the tried and true BPM but after some research I think I'm going to rent a set of Hollywood Black Magic and see how they do. Testing before hand of course.

Not to hijack but I was a cam assist on shoot a few months ago which was shot on the Alexa XT and DP had a 1/8 Digicon in for the entire thing. He said he liked the highlight roll off that the 1/8 digicon gave him. Now, my question is would it be redundant to use a BPM or HBM WITH a digicon to slightly lower contrast and get a nicer highlight roll off when shooting on the FS7?
 
Grug said:
Nets behind the lens are a VERY strong look. I've tested them before, but yet to have a project that's called for them. I do however keep a Tiffen Black Net filter that I throw in front of the lens on occasion for a similar look, it really smooths out faces nicely. But it is a heavy grade of diffusion.
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I used to use them when shooting magazine stuff with Beta. I have set of filter rings that slip on the back optic of a 2/3" zoom. Nice thing is you can really stretch them to get a pretty nice effect. Haven't seen any way to manage that with the FS7. My goto diffusion has been a warm SFX 2. Very nice and subtle. I also love my Tiffen Glimmer Glass. Makes a nice diffusion without the inherent problems that can arise when using diffusion, mainly haloing.
And crazy as it seems, if you are NOT in cine ie mode...a 1/4 double fog is sweet. Somewhat reminiscent of the old Mitchel B's. But any highlight will haze a bit...not halo but haze.
 
Ultra rare Mitchell Variable Diffusion filter.

This unit utilizes two gradated Mitchell diffusion filters to increase the strength of the diffusion as they are slid against each other via a geared track. Unfortunately the opening is only approximately 3.5 inches in diameter and not large enough to cover most modern lenses. There were made in the 1920's or 30's and used with early Cooke, Astra, B+L Baltar lenses etc.

I found part of the frame of one of these in the late 90's in a junk box and didn't know what it was until I read 'Painting with Light' by John Alton and ever since then I had been on the look out for one. About three years ago I finally came across this unit and grabbed it immediately. Apparently these are exceedingly rare as many were tossed because they were unusable with larger modern lenses like the Super Baltar series.


MitchellVariableDiffusionFilter.jpg
 
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Great find, Harry. Classic golden-era Hollywood.
BTW, you the same Harry Lime that knows Holly Martin? :grin:
 
Very cool find- sounds like it might work with most DSLR lenses though 3 1/2 "= 87.5 mm- if you want to part with it which I doubt let me know.
 
I also think the image from the FS7 looks a little too digital at times. I bought some Tiffen Satin filters for my Rokinon lenses in order to shoot an indie film recently and I really liked it. Here I posted a video of my test shoot to see the differences:

https://www.youtube.com/watch?v=xvn05V7u05Y

I ended up using a Satin 2 on 12mm and 24mm, and then the Satin 1 on 35,50 and 85.
 
Brian Mills said:
I also think the image from the FS7 looks a little too digital at times. I bought some Tiffen Satin filters for my Rokinon lenses in order to shoot an indie film recently and I really liked it. Here I posted a video of my test shoot to see the differences:

https://www.youtube.com/watch?v=xvn05V7u05Y

I ended up using a Satin 2 on 12mm and 24mm, and then the Satin 1 on 35,50 and 85.
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Nice test Brian, the Satins look good. Lowers contrast a little without blooming the highlights to much. Im of a "less is more" attitude with diffusion but found the Satin 2 wasn't to strong. Compared to the Clear its quite evident but if you only look at the Satin 2 window it's not over the top. I think you made the right choice in your strength to lens combos.
 
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