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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Diffusion Filters?

I'm a really big fan of Tiffen Glimmer Glass -- it's a look that's very difficult to get in post. There's quite a few interesting filters out there that have a unique look, but the problem is you have to be willing to commit​ to it permanently. There's no changing your mind on this stuff, and that can be a challenge in some situations.
 
Tiffen Pearlescent, rear black nets, Schneider Classic Softs, Hollywood Black Magic, in that order. Also Tiffen Smoque, though not technically diffusion. Usually 1/8, 1/4, 1/2.
 
I really like Glimmer Glass. It's very subtle with very little halation - if that's what you're looking for. I still like the look of Black Pro Mist for diffusion that halos.
 
Classic Soft, Hollywood Black Magic, Smoque. In that order. 1/8-1/2.

Still trying to make Black Satin and Pearlescent work. We have them in 1/2 and 1 in 77mm.

Black Pro Mist and Glimmer Glass are good too. But I personally love the first three I mentioned more!
 
I like them all for the most part, in the lightest strength sold, just depends on the type of artifacts I want to get around bright sources, how much softening I want versus halation and contrast loss, etc.

When I did "Smash", I carried a set of Schneider Hollywood Black Magics (which are a 1/8 Black Frost + degrees of HD Classic Soft) and Classic Soft Blacks (which are a 1/8 Black Frost + degrees of regular Classic Softs.) So really it came down to whether I wanted the artifacts of an HD Classic Soft or a regular Classic Soft -- the HD Classic Softs are more subtle because the dimples in the glass that soften the image are smaller and more irregular. The dimples in regular Classic Softs are larger and more regular so you tend to see more artifacts, like a ring around point sources with some combinations, or a fuzzy round blob around lights with other strengths and focal lengths. In general, you had to watch using regular Classic Softs with longer focal lengths because the dimples got so enlarged that you could get these large out-of-focus orbs around flares and points of light. But sometimes those artifacts are pretty, like when filming an actress with jewelry and getting those rings when the light kicked off of the jewelry. Other times, it got distracting so I went back to the Hollywood Black Magics.

I also like the Tiffen Soft-FX, the problem with that filter is just that the jumps between each strength (1/2, 1, 2) are more dramatic than they should be, there should have been a step in between.

When I just want a general misty glow, like what the old ProMists used to give you, I use ProMists, Black ProMists, Schneider Black Frosts, Tiffen Pearlescents, or Tiffen GlimmerGlass.
 
For me it depends on what I am trying to do. My favorite diffusion filter is a P size clear. I usually will hold it in my left hand with a can of hair spray in my right, blast the hairspray in the air and then swing the clear filter through the cloud. That gives me a light promist style diffusion. If I clean the hair spray off the center, then it just blooms on the sides, or if I clean the sides then it softens the center, and doesn't glow the edges. I have used Burt''s bees lip balm on a clear filter, a bar of soap, a stick of deodorant. I like tiffen soft nets for pre made filters, or local convenience store pantyhose behind the lens (although that's a giant pain in the ass). I like tiffen black FX when I have a pretty girl who needs a little help. They are the best at reducing resolution without adding highlight bloom. For certain shot's I am not above being very specific about what parts of the filter to make more or less diffused. My first choice is to use a lens that has the look I want. It's much easier to use a set of lenses that has a look than to try and use filters to consistently mess with the look of the lenses. I like old lenses. I used to have a set of K35s that I loved, but my focus puller didn't, I have been really into the old russian still lenses like the helios and the Mirs lately. I love lomo anamorphics because of the softness and character.

I worked on Philomena where the DP was shooting S4s with black stocking material glued behind the lens, he then had the ACs tear and poke holes in them so they were less uniform. Don't be scared to fuck with the optics. If it looks like you want then you win. I think the dog schidt lenses have a great look at times. If you can get a set of cheap lenses, get a dremel and polish the coatings off, or hit them with a razor blade and fuck around till you get something you like. there are no rules.

Nick
 
David Mullen ASC said:
I like them all for the most part, in the lightest strength sold, just depends on the type of artifacts I want to get around bright sources, how much softening I want versus halation and contrast loss, etc.

When I did "Smash", I carried a set of Schneider Hollywood Black Magics (which are a 1/8 Black Frost + degrees of HD Classic Soft) and Classic Soft Blacks (which are a 1/8 Black Frost + degrees of regular Classic Softs.) So really it came down to whether I wanted the artifacts of an HD Classic Soft or a regular Classic Soft -- the HD Classic Softs are more subtle because the dimples in the glass that soften the image are smaller and more irregular. The dimples in regular Classic Softs are larger and more regular so you tend to see more artifacts, like a ring around point sources with some combinations, or a fuzzy round blob around lights with other strengths and focal lengths. In general, you had to watch using regular Classic Softs with longer focal lengths because the dimples got so enlarged that you could get these large out-of-focus orbs around flares and points of light. But sometimes those artifacts are pretty, like when filming an actress with jewelry and getting those rings when the light kicked off of the jewelry. Other times, it got distracting so I went back to the Hollywood Black Magics.

I also like the Tiffen Soft-FX, the problem with that filter is just that the jumps between each strength (1/2, 1, 2) are more dramatic than they should be, there should have been a step in between.

When I just want a general misty glow, like what the old ProMists used to give you, I use ProMists, Black ProMists, Schneider Black Frosts, Tiffen Pearlescents, or Tiffen GlimmerGlass.
Click to expand...

Thanks for the breakdown David!!!
 
Big problem is that Diffusion filters need AR coatings and currently don't!


Nick makes some good points... One particualrly I'd like to coment on

My first choice is to use a lens that has the look I want. It's much easier to use a set of lenses that has a look than to try and use filters to consistently mess with the look of the lenses.
Click to expand...

I have used most the tricks Nick mentions and also use lots of dedicated diffusion filters. .. But Nick is right it is often easier to just use lenses with the look you want...

However I feel the filters companies are doing themself, and us, a real disservice. PLEASE PLEASE create filters with proper AR coatings! Without AR coatings and a tilting mattbox (or resourceful AC) it is too easy have problem shots that under pressure just work a bit better by pulling the filter.

I have tested proper filters with AR coatings and they are much much better... Even optical flats with AR coatings are much better. If you are just shooting a test with a young woman and a practical light in shot you may not be convinced of the difference but real work shooting needs better filters if they are to become more than so sometimes tricks for lots of DPs...

The technology is there but I heard the big filter buyers (the hire companies) who unfortunately have clients that occasionally treat filters like consumables don't love the idea.

If you are in the acquisition process and like 'look' to be created in camera this would be a major step forwards..

Michael L

Ps not talking about diffusion for a second and just out of curiosity....people buy/rent lenses like Masterprimes then stick a non AR coated optical flat in front??
 
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