Mattebox tips
- Thread starter Jon Chema
- Start date
Ryan Patrick O'Hara
Veteran
It depends on what lenses you are using, what camera you are using, the subject you are shooting, and the desired effect you wish for.
It's a much more specific question. However, the most common filters for film cameras and high end digital cinema cameras are ND's. Prosumer cameras usually have built in ND's such as the HVX200 and ENGs.
Other than that, the second most popular filter would most likely be a polariser. Anything else, is really situational.
It's a much more specific question. However, the most common filters for film cameras and high end digital cinema cameras are ND's. Prosumer cameras usually have built in ND's such as the HVX200 and ENGs.
Other than that, the second most popular filter would most likely be a polariser. Anything else, is really situational.
Thanks. Shooting a music video with daytime exteriors and interiors. I'm thinking .3 and .6 ND, then a polarizer, then ultra con. Shooting on the RED One and Canon 7D. Using Zeiss glass. Wanted to rent a streak filter but can't seem to find it anywhere.
craigbowman
Veteran
That is absolutely 100 percent correct.
For example the following shots used the same two filters in stages one and two: (Identify the two filters)
To make it obvious this interior shot isn't using the filter that was in stage one of those exterior shots:
craigbowman
Veteran
Nope. Stage one of the exterior shots used an ND Grad and Stage two used an ND. (Both .6) Remember Ryan mentioned that NDs are the most common filter type used.
craigbowman
Veteran
RyanT
Veteran
I don't think he wanted to know about filters, but about if the order in which they are placed in the mattebox matters. IE if a hot mirror always has to go in front of an ND, or if your pola always goes first...maybe I missed something?
A lot of times though you are just limited by your mattebox, you'll often only have one rotating stage, one circular stage, and one fixed stage...so you'll end up having to put your pola in the circular, the ND in the fixed stage, and maybe an ND grad in the rotating one. I don't think it really matters in which order they go, but then again...I'm not really an AC, so this isn't quite my territory. Hopefully someone else can come and confirm my suspicion.
If I were you though, I'd forget about having just an ND .3 and .6 if you're doing daytime exteriors. What stop do you want to be at? Figure with the red you'll always be shooting at 320 iso, so even with the .6 you'll be at 80 iso which if my math is correct will put you probably around a 16/22 split.
If you can, just get a whole ND set, otherwise maybe consider just going with an ND .3, ND .9, and an ND 1.2. You'll also need a hot mirror if you use the .9 or 1.2, so I'd suggest renting that as well. I usually skip out on the .6 on smaller jobs just because I figure I can always throw the pola in there and get something very close to an N .6. If I don't want the effect of the pola I just spin it off, so it's not doing anything.
But...if you want a deep stop, go for the lesser ND's. Again it's just the effect you want.
Also, if you can't find a streak filter, go to some sort of glass place and have them cut you a 4x5.65 piece of glass. Take a razor blade and then score the top of it, using a ruler to make straight marks across. Once you're finished, wrap a little bit of tape around the edges for safety and pop it in your mattebox. While it may not be the most optically perfect filter you've got in your kit, you're probably using it for a music video that's just destined for the web, and your 4k can take a little bit of a hit and survive. Plus...then you've got yourself a streak filter you've made for less than $15. Can't go wrong!
A lot of times though you are just limited by your mattebox, you'll often only have one rotating stage, one circular stage, and one fixed stage...so you'll end up having to put your pola in the circular, the ND in the fixed stage, and maybe an ND grad in the rotating one. I don't think it really matters in which order they go, but then again...I'm not really an AC, so this isn't quite my territory. Hopefully someone else can come and confirm my suspicion.
If I were you though, I'd forget about having just an ND .3 and .6 if you're doing daytime exteriors. What stop do you want to be at? Figure with the red you'll always be shooting at 320 iso, so even with the .6 you'll be at 80 iso which if my math is correct will put you probably around a 16/22 split.
If you can, just get a whole ND set, otherwise maybe consider just going with an ND .3, ND .9, and an ND 1.2. You'll also need a hot mirror if you use the .9 or 1.2, so I'd suggest renting that as well. I usually skip out on the .6 on smaller jobs just because I figure I can always throw the pola in there and get something very close to an N .6. If I don't want the effect of the pola I just spin it off, so it's not doing anything.
But...if you want a deep stop, go for the lesser ND's. Again it's just the effect you want.
Also, if you can't find a streak filter, go to some sort of glass place and have them cut you a 4x5.65 piece of glass. Take a razor blade and then score the top of it, using a ruler to make straight marks across. Once you're finished, wrap a little bit of tape around the edges for safety and pop it in your mattebox. While it may not be the most optically perfect filter you've got in your kit, you're probably using it for a music video that's just destined for the web, and your 4k can take a little bit of a hit and survive. Plus...then you've got yourself a streak filter you've made for less than $15. Can't go wrong!