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Found 48 results

  1. LEE Filters, the premier global provider of filters for photography, cinematography and lighting design, has appointed a trio of industry experts to its North American team. Morgan Prygrocki will be charged with leading the company’s U.S. office as general manager, and Patrick Corcoran and Richard Andres will serve in business development roles for the west and east coasts, respectively. Paul Mason, LEE Filter’s managing director, says, “As LEE Filters continues its worldwide growth, the addition of Morgan, Patrick and Richard demonstrate our commitment to the U.S. market. These talented industry professionals bring a broad range of capabilities to enhance our sales and support services to the professional photographic and cinematography communities. We’re excited to continue to build upon our industry-leading position and develop deeper relationships and partnerships throughout the U.S.” Prygrocki is responsible for all North American business. She comes to LEE with robust industry relationships from her previous senior level roles at Ncam Technologies and RED Digital Cinema. She is based in California at LEE’s Burbank, California, location. “LEE is a trusted brand and dedicated partner in the industry, and I’m excited to lead our North American team in delivering the highest-quality products and services to our customers. With the addition of Richard and Patrick, we are augmenting our presence within the community of artists and creatives who need top-tier tools.” As Business Development Manager–West Coast, Corcoran brings extensive experience working with professional filmmakers. He joins LEE from SHOTOVER camera systems and RED Digital Cinema. Andres, Business Development Manager–East Coast, comes to LEE with more than 20 years of experience in the stills photographic, rental and studio sectors. He previously worked at Foto Care in New York. This expansion follows LEE Filters’ recent addition of Lilian Tran as Social Media and Marketing Coordinator in the U.S. in July, enabling LEE to establish global social media coverage. This week (October 24-26), LEE Filters will be exhibiting at PHOTOPLUS at the Javits Convention Center in New York City. Come meet the new team on Stand #152. For more information about LEE Filters visit www.leefilters.com.
  2. So I’d like to know this: are there any particular scenes or films which in your view effectively used warming filters? But not only the warming ones, like 81 or 85, but also straw, antique suede, gold, coral, tobacco, or similar. And it also doesn’t have to be a particularly effective, but just something that you liked. Two, are there any cinematographers today who really like the filter look and use them even though you can do a lot in postproduction? Or any cinematographers of the past who loved to use them. Or a cinematographer who is particularly associated with a filter or liked to use a certain kind. And three, I was reading one of David Mullen’s posts yesterday where he says that what he does sometimes to achieve a warming effect is to use a blue filter, shoot a greyscale with it, then drop it for the scene, and then send a note to the colourist with a “pale yellow/golden look” message. So I was wondering, David – or anybody else who does a similar kind of thing – have you compared that look with a look of a filter the use of which would give a similar result? What’s the difference (apart from it, obviously, not being possible to remove the filter effect in postproduction)? P. S. I only saw a Cokin gold filter, and that’s for still photography. Any other producers? P. P. S. This might sound baffling, but would it be a terrible thing if there were a CTO lens filter? It would look awful? I was just thinking if, say, I was shooting something at 6500 K natural lighting, would it be possible to turn such a light into a 3000 K-ish sunset light with the use of such filter. It would probably kill a lot of other colours or something...
  3. Selling a full set of Schneider Platinum IRND's These have served me great over the last few years. Used to be the standard at rental houses, great quality for the price. 0.3 (Excellent) 0.6 (Excellent) 0.9 (Newer/Excellent) 1.2 (Two tiny nicks on the border, no where near photographing, otherwise great) 1.5 (Excellent) 1.8 (Excellent) $1250 Photos avail.
  4. Following the widely successful launch of the LEE100 Filter Holder in March, LEE Filters has introduced two new products to further enhance the system. The new LEE100 Tandem Adaptor proves invaluable on occasions when one filter holder isn’t enough, and the LEE100 Hood is a versatile and sturdy companion to the ecosystem. The LEE100 Tandem Adaptor Unique to the LEE Filters system, the Tandem Adaptor, which is constructed from aluminium, allows the photographer to use more than one ND grad and rotate each independently, so they can be set at different angles. This allows for far more precise creative control of the exposure in complex lighting situations than one holder alone. To fit, the first LEE100 Filter Holder is attached to the lens via the adaptor ring as normal. The LEE100 Tandem Adaptor then slides into the holder’s outermost slot, and the second LEE100 Filter Holder is attached to the adaptor. The holder closest to the lens can be used with up to three filter slots (one must be used for the Tandem), while the holder that’s attached to the Tandem Adaptor can be configured with one, two or three further filter guides. Both holders can be rotated freely until the desired effect is achieved, and then locked in place to avoid any accidental movement of the filters. The LEE100 Hood Designed to shade the camera’s lens and reduce the risk of stray light and flare spoiling the image, the LEE100 Hood can be used with up to three slot-in filters plus the LEE Filters Polariser. Constructed from a water-resistant reinforced nylon in a collapsible concertina design, it is self-supporting, with no need for intrusive and fiddly rails or guides, and can be adjusted to different angles and extensions for maximum versatility. Simple to set up, the hood comes with an attachment ring that is affixed to the LEE100 Filter Holder via four locking tabs. The hood is then locked securely on to the attachment ring with a lever. It is then attached to the adaptor ring in the usual way. The hood can be rotated independently of the LEE100 Filter Holder, allowing the photographer to use ND grads as normal, while still getting the most out of the hood itself. At its fullest extension, the hood can be used with lenses of around 28mm and a two-slot filter guide without the risk of vignetting. Once it is reduced to half extension, lenses as wide as around 20mm can be used without vignetting. Easy to extend and collapse, and quick to attach and detach, the LEE100 Hood is the ideal addition to the photographer’s kit bag. Pricing The LEE100 Tandem Adaptor is available now to purchase from LEE Filters dealers, with a MSRP of $65. The LEE100 Hood is available to purchase from LEE Filters dealers beginning August 19, with a MSRP of $295.
  5. FJS International is brokering a sale of a large inventory from a European rental company. You can buy items individually. See complete list here: https://fjsinternational.com/fjsaprilinventorysale.html
  6. Anybody happen to know if the cool blue moonlight looking ambient light in this scene was done through gels? If so, which gel do you reckon it might be? Arrival-Bradford Young https://fancaps.net/movies/Image.php?name=Arrival_Screenshot_112&imageid=2493209
  7. Dear Cinematographers, It can be seen in the films of Takeshi Kitano and Kiyoshi Kurosawa, among many others. Hausu, Ran, violent Cop, Hana-Bi, Cure - even Charisma, Ju-On, Ringu, and Pulse (Kairo) - and many others all have the same, distinctly Japanese '80s, '90s aesthetic - and not simply on account of the costumes and set decoration. It is a late night TV special kind of look, with faded tones. Other than that meager description, I cannot further elaborate - the aesthetic is too subtle. Therefore I must ask you who are greatly more experienced than I - was it by means of the cameras, lenses, and filters, or was it primarily the film? I would sincerely like to know for a feature on which I am presently working. Sincerely Grateful, Kurt Cassidy-Gabhart
  8. Hi, Looking for variable ND filters for this lens. According to the information "Holds 1 Series 9 filter". Can I use 82mm filters for this lens? Any filter size Series 9 compatible?
  9. Hi, I'm in the market for a few ND filters in 4x5.65 size Looking for : 0.9 ND (3 stop) 1.8 ND (6 stop) Black pro mist 1/2 OR Black frost 1/2 Thanks!
  10. Hi all. Excited to ask my very first question on this forum! For an upcoming short, I'm trying to achieve a pastel, somewhat low-contrast color palette in a bright daytime exterior, very much like the attached reference image from Vertigo. Being a micro budget project, I don't have the opportunity to pre test a bunch of filters or lenses. Any recommendations on filtration for this reduced contrast, slightly blooming look? For the project, I'm using the Ikonoskop A-Cam DII. I own this camera, and the colors from its Super16 Kodak CCD sensor feel inherently pure and dare I say film-like. I'm pairing it with oldish glass, the Cooke 9-50 Varokinetal (T2.5). I've rented this lens before and it is not only affordable but renders a very creamy three dimensional image. I've attached a sample I shot with this configuration, no filters. Just need to turn that into something less contrasty, more talcumy, more "vintage" for lack of a better word. Thank you! Jall
  11. I currently own a K-3 16mm camera that came with 5 ND filters. I'm trying to label them for shooting purposes, but there are no instructions on how to identify which filter is for what purpose. Does anyone know how to label them properly? Nathan
  12. Dear guys, I'm going to Hong Kong for a photography project (and I also want to shot some 150 fps). I want to get the look of this picture in a GH5 with a Leica Summicron R (f2) and I'll probably use a Minolta flash. I'm looking for a 4x4 filter that can helps me to reach the following look on camera. Do you have some recommendation? Thanks, best S.
  13. I was wondering if anyone had an opinion on the optical quality of Kodak's CC filters, which I believe are gelatin. What kind of image degradation do you get? How might they compare to Tiffen of Formatt glass? Thank you.
  14. Hi, I'm selling my filters; 28x Tiffen 4x4 filter. Also selling the metal flight case and a filter pouch for 6 filters. List of filters, 4x 85 4x 85 N3 4x 85 N6 4x 85 N9 2x 85B 1x 85B N3 1x 85B N6 1x 85B N9 1x 85POL 4x 81EF 1x 81EF ND3 1x 81EF ND6 1x 85EF ND9 Metal flight case secures 60 filters. The key for case is missing. Haida 100 filter pouch, holds 6 filters. More pics, Tiffen folder; https://jussipaita.imgur.com ASKING PRICE FOR THE WHOLE SET 900 euro. If you´re interested write me an email: jniemela79(a)gmail.com
  15. Hi, I was browsing through different online shops for some bargain split diopters (a set of filters, 77 or 82mm), but I haven't found anything reliable yet. I don't have the budget to spend on new filters for 200+ dollars. Does anybody know where can I get used, cheap and sharp split diopters? Any help would be appreciated :)
  16. Hey everyone! First time poster and relatively new member to the boards. Was trying to rack my brain around on this and figured it'd be worth a shot asking here. I'm preparing to direct/shoot a music video next weekend, and I need some advice on choosing a diffusion/beauty filter set. Plan is to shoot on the Alexa with a K-35 25-120mm Macro Zoom (as well as a 14mm Canon Optex if we really need the width). Utilizing HMIs and some Astras for the lighting package. I wanted to give the video an older film feel to the image, which I'm aiming to do via the lenses and using harder lighting via the larger HMIs. I also wanted to use some beauty/diffusion filters for the last touch, since I'm a big fan of in camera filtration as opposed to post. I'm currently torn between two choices, either the Soft FX series or the Mitchell Diffusion series. Now there are a TON of videos online which help show the effects of Soft FX, and to be frank it seems like a great choice for flattering the talent, while still mainting some sharpness (not to mention they don't seem to go super crazy with the halation around sources in frame). But since I wanted to give an older feel to this video, I thought about maybe going with some older vintage filters. This led me to learning about the Mitchell Diffusion series (Strengths A-E). I like the idea of using older diffusion filters, but I'm worried because for the life of me I cannot find any relevant info online about them, save for a really unsatisfactory test on Vimeo. I emailed Stan at the Filter Gallery here in NYC about it, and he mentioned that Soft FX has oval shaped lenslets, while the Mitchell series have a ripple effect. Has anyone ever used the Mitchell diffusion before? I'd love to hear some first had experiences with them, or if possible see something shot with them. Even some screen grabs will do. I'm going on Wednesday to check them out in person but I wanted to see if anyone here had any relevant info to share. Thanks!
  17. Hi all. I have a couple of questions regarding super 8mm shooting. I've been shooting Super 8 for a few years now, haven't used it much, but have gone through a few rolls of film in my spare time. I've been reading about colour temperatures, and have slightly confused myself. I read somewhere that all Kodak film is tungsten balanced, and that by putting a cartridge of 50D into my super 8 camera for example, is engaging the 85A Warming filter. By putting 500T into my camera it disengages the filter, unless I chose to override it for shooting in daylight with tungsten stock. Is it the other way round? It makes more sense that the filter is only engaged automatically when placing a Tungsten stock in the camera. I'm sure its different for all camera manufacturers, but if anyone has an input for my specific Canon 318m camera that would be great. A separate question. I'm planning to shoot a short film on Kodak Tri-X B/W Reversal stock in the coming months. What coloured filters are recommended for shooting Tri-X in daylight, and interior fluorescent or tungsten environments? Mainly for maintaining contrast levels etc..
  18. Hi, I was biking home today after watching Finding Dory, going uptown on first avenue in Manhattan, and I always love the "effect" I was experiencing, and I often become away of it after going to a movie - where all the streetlights and lightsources bloom and streak - but everything not near the light sources looks not too soft - but the main thing is that the streaks and blooming are totally irregular, some lights have massive streaks, others very little, some in one direction, some in another - is there any filter or other image modifier that can approximate that? Thanks!! Max
  19. How do you store your gels? I spent some time searching and came up with nil here on the forums. The reason I am asking is because I am going from set to set, seeing various gels and filters being thrown in a tall trashbin or tub or something of the like, lacking any organization and efficiency. I am still fairly inexperienced and low-budget, and don't have means of a storage facility nor the luxury of storing them on frames. I'm beginning to grow my collection, from smaller rolled up 4x4 sheets to actual full rolls, and as they are fairly expensive, yet still expendable, I can't come up with a reasonable way to store them, thought I have many ideas. Maybe you guys can help me get a better idea or a good recommendation of what to do. One idea that I have had is to actually have a large PVC tube, and strap full rolls inside and lock them with a twisted cap, and roll smaller sheets on the outside and fix them to the tube with a mixture of a PVC sheet or bit of tarp covering them, and a bongo-tie securing system. Labeling will be a breeze, and visually finding them will be a lot easier. I imagine this could be nice and safe for the gels and filters, yet if I have too many of these, the weight will become ridiculous. Any tips and ideas are appreciated, thanks!
  20. Apologies if this question has already been ask, I couldn't seem to find a thread on this topic. I own a set of 4x4 filters, a variety of glass Tiffen FX and ND filters. I just haven't found a way of cleaning them without smearing the filter. I've tried a variety of methods, including rosco fluid/tissue, pancro, some other brand of spray on lens fluid I have in my kit; I haven't found a way that works yet. What is the best way you have found to clean filters? Circular cleaning from the centre like a lens, or just go crazy? :) Any specific fluid/tissue brand combination that seems to work best? Also a fun story for everyone. I was prepping kit for a shoot at a rental house the other week, and the filters had all been repackaged in the plastic like most rental houses do. The word 'OK' (after being cleaned by the rental house) was written onto the plastic for each filter with permanent marker, which had gone through onto every filter!
  21. Hi everyone, I am a student currently writing about diffusion filters in a short research topic for my BA course. I was wondering if anyone could think of any topics extra I could cover or speak about in more depth. So far Ive spoken about: basic introduction to difference between soft and hard light the various diffusion gels available, EG Frosts, Silks, White diffusions and Grid clothes etc. the results of these gels the effects of strong vs weak diffusion on the tone of a model The visible transmission and light absorption of diffusion gels The effects of increasing and decreasing the gel position in relation to the light and model The pros and cons of Heat resistant vs non heat resistant gels how strong diffusion can be used to combine multiple light sources and some difference in quality between brands What else can I talk about? Thanks Matt
  22. Selling of some filters. They all come in their original pouches (but with the annoying sewn in black Tiffen-cloths taken out). Located in Gothenburg, Sweden Tiffen 4x5.65 ND-kit: Used but in good condition. ND.3 ND.6 ND.9 ND1.2 ND1.5 ND1.8 ND2.1 (has a thin scratch, about 1cm long, 25% in from the edge. Would be extremely surprising if it affects the image in any way.) Price: €800 + shipping Formatt 4x5.65 Hot Mirror: Used but in good condition. Price: €70 + shipping Tiffen 4x5.65 T1 IR: Used once. In great condition. Price: €120 + shipping Schneider 5x5 Circular True-Pol: Used once. Like new. Price: €120 + shipping Tiffen 4x5.65 Enhancing Used once. Great condition. Price: €100 + shipping Tiffen 4x5.65 Chocolate 1 Like new. Price: €100 + shipping /Erik Andersson, 1st AC, Sweden
  23. Hi, I've had a Tiffen IRND 1.5 filter recently returned and the filter appears to have a darker center then the outside, almost as if where the 4x5.6 filter tray sits is one tone and the exposed filter inside of the tray is a darker shade. Has anybody seen or heard about this before? When placed in front of a camera, it's unseen, however very obvious to the human eye. Thanks.
  24. Hi everybody, I'm gonna shoot a thesis project at the end of the month and I started thinking about the look I'd like to achieve. I'm not super familiar with filtration and I wanna try to work with filters more rather than put all my trust into post production and color correction. I'm gonna shoot in the woods and the director would like to have a desaturated/soft/ dusk kind of look. I'll have to shoot day for dusk because I'll probably have access to the location during the day and not during actual dusk hours. I'll go to the filter gallery in NYC to make some tests but I'd like to hear everybody's opinion in order to make up my mind if there's a specific kind of filters I should check out. To be more clear I'm attaching a reference photo given to me. If it makes any sense I'm also planning on renting the artem exterior fogger. Thank you so much in advance for the help!
  25. Hello, I am and enthusiast cinematographer in the process of learning and experimenting. I like how the highlights glow in "The great beauty" and other films and I would like to know how to achieve something similar with digital cameras. Aspects I like are: - Detailed but soft (unsharped) images - The light sources seem to glow - The light goes a bit into the boundaries of the shadows - The highlights have a nice roll-off - The light rays can be seen. Aspects I dont like: - Dreamy effect where everything seem to glow - Clipped highlights with bad roll-off I guess some of these aspects are related with the use of film, that I like a lot. After some researching I have reach the conclusion that using diffusion you can get similar results. Filters as Soft FX and Classic Soft seems to help reducing sharpness and some of them seem to create a nice halo around lights. Filters as Black pro mist, Glimmer Glass, Pearlescent and Black Frost seem to "make the light visible" around light sources which i also like. Also there are combinations of some of them with mixed properties. I haver never owned or used a filter, they are expensive and I don't know if they are the solution I am looking for. Do you think that filters are the solution for this? If you could only buy one or two to get this kind of image and the aspects I like, which one would you choose? Thanks a lot!
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