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Found 4 results

  1. For all of you camera assistants who have been asked to DIY build your own variable ND filter with two polarisers, here is a plug-and-play solution: The Cinefade VariND just needs to be connected with an LBUS cable, no calibration required and can be remotely controlled from a cmotion cPro lens control system! Thoughts? Comments? Has anyone used this system for interior to exterior shots or just to speed up ND changes, especially when working with RED cameras without internal NDs?
  2. The novel Cinefade VariND has been available for over a year now and there are some great examples of how cinematographers have used the variable depth of field effect in narrative storytelling and commercials (Examples). It's still a new effect though and I'm wondering how else you would use the Cinefade in your post-covid projects? Reveal a bad guy lurking in the background by extending depth of field? Combine with a Dolly Zoom effect? Let's get creative...
  3. How do you deal with the drastic change in lighting when doing an interior to exterior shot (handheld, Steadicam, gimbal etc) without riding the iris so depth of field remains constant (Example)? Are there any good professional variable ND filters out there besides the Cinefade VariND and maybe the PV LCND?
  4. Hey guys, I'm looking into Tiffen's matteboxable Multi Rota Variable ND, as a way to keep a more consistent aperture when shooting outdoors on days when the sun is constantly dipping in and out of the clouds. And I was wondering if anyone here has used it before, and can comment on their experience with it? I built my own variable NDs for stills cameras back in the day (by combining off the shelf filters), so I'm well aware of the usual caveats of the cross-hatching. I'd love to hear some feedback on how the Tiffen MRT goes for colour cast though - if it has any? And if so, whether it's an issue? Where the MRT strikes me as useful is used in conjunction with conventional NDs, so that you could set a base exposure with a combination of regular ND and the MRT set at 4-stops of compensation, and then you'd be able to open up two stops (it's minimum setting) if the clouds roll in, or close down two stops if the sun bursts out in all it's glory - all while keeping two stops down from the filter's maximum compensation of 8 stops, which starts to push towards the funkiness and cross hatching you can get when you take these variable NDs too far. I think my theory is sound, but I'd love to hear from anyone who's actually put it to the test, and can comment on the unit's performance? Cheers, Mark
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