Gobe is an Australian Lens Adapter and Filter Company That Plants Five Trees for Every Purchase Made

Cinematographer/director Paul Leeming of Leeming LUT Pro dropped by yesterday and very kindly gave us two vintage M42-mount manual-focus prime lenses, a Panagor MC 28mm f/2.8 and a Pentacon 50mm f/1.8. 

Both lenses are in excellent condition and are a reminder of how useful such lenses are for shooting video with recent and current generations of hybrid cameras equipped with focus peaking. 

This morning I googled adapters for these lenses and an Australian camera accessories company came up in the search results – Gobe Corp Pty Ltd, headquartered in Byron Bay. 

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Gobe M42 to Fujifilm X-mount lens adapter.

I don’t know anything about Gobe’s products other than what is published in their website so cannot make any recommendations right now, but am pleased to note that they state that they plant five trees for every purchase made of their their products.

I will now be looking for hands-on reviews of Gobe products, especially of their fixed and variable neutral density filters, UV filters and lens adapters.

Links

  • Camera-wiki.org – Panagor– “[Jaca Corporation] are most famous for their Elicar and Panagor brand lenses, made by a variety of Japanese lens manufacturers which included Komine and Kino Precision.”
  • Gobe – website
  • Leeming LUT Pro – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading. Multi-camera shoots are now much easier, because you are starting with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading.
  • WikipediaPentacon – “The name Pentacon is derived from the brand Contax of Zeiss Ikon Kamerawerke in Dresden and Pentagon, as a Pentaprism for Single-Lens Reflex (SLR) cameras was for the first time developed in Dresden. The cross section of this prism has a pentagonal shape. Pentacon is best known for producing the SLR cameras of the Praktica-series as well as the medium formatcamera Pentacon Six, the Pentacon Super and various cameras of the Exa series.”

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The Beat: NAB 2019: PolarPro’s New Peter McKinnon Variable ND Filter

NAB 2019: Polar Pro’s New Peter McKinnon Variable ND Filter

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PolarPro Variable Neutral Density Filter, Peter McKinnon Edition.

“Polar Pro is slowly becoming one of my favorite companies. As with Aputure and Blackmagic Design, it seems they’re doing this crazy thing where they listen to their customers and make products that actually help people. So, that being said, the new “Peter McKinnon” branded filters are, quite frankly, super dope….

The filter is a fused, quartz glass, variable ND filter with apparently the lowest refractive index currently available….

The stop indicators are pretty rad, and they can really help you get the shot you want — perfectly exposed and consistent (as all things should be)….”

Specifications

  • Available in 2-5 and 6-9 stop variations.
  • Preset stop range eliminates any chance of cross polarization.
  • Zero vignetting down to 16mm focal length lenses.
  • Pure Fused Quartz ensures superior optical clarity over any glass on the market.
  • Includes a DefenderSlim cover for fingerprint-free installation.

PolarPro Variable ND Filter, Peter McKinnon Edition

Commentary

Variable neutral density filters aka VNDs are a mainstay of independent documentary movie production and the best are anything but cheap.

Given that one or two VNDs can replace five or more fixed density value neutral density filters, prices of the best VNDs compare well with those of sets of fixed NDs, so sticker price shock should not be a consideration if one is going for the best and most versatile production kit, one that will last for years through thick and thin.

PolarPro’s QuartzLine range of UV filters, fixed density ND filters and Circular Polarizers has been quietly satisfying the needs of drone operators, photographers and videographers with its brass traction-framed filters, and the company recently came to my attention with advance mention of a new concept in VND filters.

That new type of VND was shown off at NAB 2019, was covered by The Beat, and has been selling like crazy direct from the PolarPro online store.

I have never had the pleasure of using or seeing any PolarPro products in real life, but from what I have read they are outstanding.

I have been researching possible replacements for my ageing VND, a Genustech 77mm Eclipse ND Fader that was the most-recommended when I got back into moviemaking, and have decided to standardize on 82mm filters with step-up rings to help minimize vignetting when using them on wide lenses.

I began replacing my aluminium step-up rings with the excellent knurled brass traction frame step-up rings made by Breakthrough Photography a while ago, and have some Breakthrough Photography fixed ND, UV and CPL filters with which I am well pleased.

I discovered that brass filter frames are far less prone to binding than aluminium ones, and that knurled frames are better than non-knurled, the more knurling the better.

It was a little disappointing to learn that PolarPro’s Peter McKinnon Variable ND Filter comes with aluminium frames rather than brass ones but I am hoping for the best with their performance in the field and am waiting for reviews by well-qualified professional users to appear.

I am impressed that PolarPro has chosen to issue its VND in two densities, 2-5 and 6-9 stops, a wise move given the high base ISOs of many contemporary hybrid cameras.

Aurora-Aperture followed a similar path with its 1-7 and 4-11 VND pair while SLR Magic took another path again with its SLR Magic 82mm Self-Locking VND 0.4-1.8 plus 86mm Solid Neutral Density 1.2 Image Enhance Filter Kit providing a range of 1.3 to 10 stops with both filters combined.

The question now is going to be which pro-quality VND brand to opt for – PolarPro, Aurora-Aperture or SLR Magic?

Links

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Aurora-Aperture FiltersB&H
  • Breakthrough Photography Filters and accessories – B&H
  • PolarPro QuartzLine Filters B&H
  • SLR Magic Neutral Density FiltersB&H

Indy Mogul: ULTIMATE BUYER’S GUIDE to ND Filters

“… Neutral Density Filters are a necessary tool for exposure control, but does their price tag really affect their quality? Today Griffin sits down with 23 ND filters that range in different price tiers from $5 all the way to $580 to see! Today we hard tested 23 ND filters for their color and image quality, flare resistance, and their usefulness in timelapse situations. We test a range of ND’s [sic] from a set of general purpose ND3 filters, to Variable Density Filters, to heavily graded ND10 filters for their use in time-lapse photography. While every type of ND filter has it’s own use, we mainly set out to see if the price tag really affected image quality, and whether variable ND’s were much worse than single glass ND’s. …”

Breakthrough Photography’s brass traction-framed ND and other filters are a boon for those of us with damaged hands and fingers and are safer to handle in the field than smooth or slightly knurled aluminium frames.

Commentary

_DSF0716_cameraraw_square_1024px
Paul Leeming’s stripped-down Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K rig with 8Sinn cage, Sigma 18-35mm f/1.8 zoom lens, Metabones Speed Booster, Kenko aluminium step-up ring, Xume magnetic filter attachment system and Formatt Hitech Firecrest Ultra fixed neutral density filter.

Independent moviemaker and Panasonic Lumix brand ambassador Griffin Hammond’s documentary production insights and training have proven invaluable over the years since I invested in Lumix Micro Four Thirds cameras primarily for video.

The previous incarnation of the recently rejuvenated Indy Mogul YouTube channel not so much but that looks set to change now that it has been taken over by Ted Sim of the Aputure moviemaking equipment company and Griffin Hammond himself.

I don’t know anything about Mr Sim, Aputure and its products at the moment but Mr Hammond is a different story, having finally met him at the last SMPTE Sydney trade show after following his video work online for some time.

Clearly it is past time to look into Aputure’s products if I can find a local stockist for them.

Meanwhile, back to neutral density filters, both fixed and variable.

Variations in sharpness, colour casts and the dreaded X were considerations when I was searching for the best and most economical neutral density filters to buy when I got back into digital video and photography a few years ago.

I had used sets of square and rectangular high-end cinema filters for attachment to movie cameras via matte boxes years before, but no longer have the sorts of budget to afford such things nor the desire to cart them all about any more.

When I started looking into screw-on fixed and variable neutral density filters the most recommended brand at the time was Singh-Ray but the company’s VND cost a fortune and was out of reach.

Instead I settled on Genustech’s Eclipse Fader VND after reading a number of recommendations by independent documentary and music video cinematographers and opted for the 77mm version along with a set of aluminium step-up rings to common sizes.

The Genustech Fader acquitted itself well through a number of small projects but recently I began looking for replacements, whether fixed or variable NDs or both, that had the least possible colour cast and the maximum sharpness.

I am also considering making 82mm filters my standard for maximum versatility given some current and future lenses I may add to my kit have wider front elements than did my limited selection of starter lenses some years ago.

Australian cinematographer/director Paul Leeming recently showed me the stripped-down travel version of his Blackmagic Pocket Cinema Camera 4K kit and how he attaches his 82mm Formatt Hitech Firecrest Ultra fixed ND filters via the Manfrotto Xume magnetic filter adapter system for fast easy and secure filter swapping.

Vignetting at the widest focal length is a consideration with the Sigma 18-35mm f/1.8 DC HSM Art zoom lens with Metabones Speed Booster attached though Mr Leeming assured me that, for the feature film he recently shot on the larger version of his BMPCC 4K rig, the vignetting was acceptable.

I continue to research the options but have now settled on the 82mm filter diameter and step-up rings made of brass rather than aluminium, which has a tendency to bind when screwing them on and off in the field.

I may well choose another brand of variable neutral density filter, bearing in mind factors like colour cast, sharpness, the x-effect at maximum density, the absence or presence of a self-locking device, and, now that cameras are appearing with higher base ISOs when shooting HLG footage in particular, a maximum density in the 10 or 11 stop range.

I may also add a set of 82mm fixed value neutral density filters for the other cameras I use and will most likely stick with Breakthrough Photography brand fixed NDs for that as I am rather fond of the company’s beautifully designed and made knurled brass-framed UV, CPL and ND filters.

Other screw-on circular fixed and variable neutral density filters and step-up rings

Links

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Aurora-Aperture filtersB&H
  • Breakthrough Photography filtersB&H
  • Formatt Hitech Firecrest Ultra filtersB&H
  • Genustech filtersB&H
  • Heliopan step-up ringsB&H
  • Sensei Pro step-up ringsB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EFB&H

Kim Cruz: Panasonic 25mm 1.7 vs 42.5mm 1.7 for B ROLL- watch before buying!

“Which lens is better for b roll? Which is better for the buck? Today we’ll look at 2 highly acclaimed lenses from the M43 system in this Panasonic shootout for B ROLL!…”

Commentary

One of the many joys of Micro Four Thirds hybrid mirrorless cameras is their range of price points from affordable through to high-end and the same is true of lenses, making the M43 sensor format attractive to those of us just breaking into stills and video as well as more experienced practitioners.

While I often write about flagship M43 cameras and lenses here, I also use and value lower priced M43 gear for its affordability, smaller size and weight and its usefulness for discrete photography and b-roll video especially in multi-camera set-ups.

New vlogger Kim Cruz has recently produced some short, sharp videos about some of these affordable choices.

Lest one succumb to the commonly held belief that M43 sensor photographs cannot look as good as those from larger sensor cameras, I recommend trying out DxO PhotoLab and its companion applications for processing your M43 raw files.

I received a Panasonic Lumix G 25mm f/1.7 Aspheric prime lens with my Panasonic Lumix DMC-GX8 camera as part of a promotion at the time and often use it for available darkness stills and video as well as in conjunction with the GX8’s wonderful tilting electronic viewfinder aka EVF when emulating the look of my former Rolleiflex Twin Lens Reflex cameras.

Other small Micro Four Thirds prime lenses for stills and video

Links

Help support ‘Untitled’

aurora-aperture_powerxnd_2000_variable_neutral_density_filter_46mm_01_1024px_80pc
Aurora-Aperture 46mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Aurora-Aperture 37mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H – Top quality variable neutral density aka VND filters are a great choice for fast-moving documentary cinematography as opposed to a set of fixed density neutral density filters. Small, narrow filter diameter lenses like the ones discussed by Kim Cruz in these videos can benefit from having their own native-sized VND filters attached when shooting video due to the size and weight of stacking up step-up rings to attach 77mm or 82mm ND or VND filters.
  • Aurora-Aperture 46mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H
  • Chiaro brass UV protection filtersB&H – I recommend brass filters for lens protection as they are not susceptible to binding like many aluminium-framed filters. Chiaro makes an excellent collection of brass-framed UV filters in filter diameter sizes from 37mm through to 122mm.
  • Heliopan 37-46mm Step-Up Ring (#745)B&H – I use a variety of brass step-up rings made by Breakthrough Photography, Heliopan and Sensei Pro. Brass step-up rings are best to avoid binding but they cost and weigh a little more than aluminium step-up rings. I like Breakthrough Photography’s step-rings the best due to their unique heavily-knurled traction frame but the company does not make all the sizes you may need such as 37mm, 40.5mm and 43mm.
  • Olympus M.Zuiko Digital 17mm f/1.8 LensB&H – Filter diameter = 46mm.
  • Panasonic Leica DG Summilux 25mm f/1.4 ASPH. LensB&H– Filter diameter = 46mm.
  • Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH. POWER O.I.S. LensB&H – Filter diameter = 67mm.
  • Panasonic Lumix G 20mm f/1.7 II ASPH. Lens (Black)B&H – Equivalent in 35mm sensor terms to the 40mm “perfect normal” focal length, this pancake lens is better suited to stills photography than video but is a much-loved focal length for many movie directors and stills photographers. Filter diameter = 46mm.
  • Panasonic Lumix G 25mm f/1.7 ASPH. LensB&H – Filter diameter = 46mm.
  • Panasonic Lumix G 42.5mm f/1.7 ASPH. POWER O.I.S. LensB&H – Filter diameter = 37mm.

RAWLITE: OLPF + IR-cut for BMPCC, BMMCC and BMCC 2.5K

http://rawlite.com/

“The ultimate upgrade for your Blackmagic Pocket Cinema Camera, Blackmagic Micro Cinema Camera and Blackmagic Cinema Camera 2.5K (MFT)….

… Due to their size and image quality the BMPCC and BMMCC are widely recognized as great digital cinema camera’s [sic]. It’s now possible to get the most out of them by taking away their main weaknesses: moiré and IR contamination.

The RAWLITE IR-cut OLPF incorporates low pass layers that control the prevention of moiré. The original glass of the BMPCC and BMMCC does not have such layers….”

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Blackmagic Pocket Cinema Camera 4K by Blackmagic Design, which apparently will need third party infrared-cut aka IR-cut filtration or the IR-cut OPLF solution provided by RAWLITE.

Commentary

When cinematographer John Brawley mentioned that he was investigating an IR-cut solution made by RAWLITE on the Blackmagic Pocket Cinema Camera 4K forum at EOSHD, I made a mental note to research the problem of infrared pollution in Blackmagic Design’s cameras and possible solutions.

I talked to a rep about the olpf at NAB and they said that they tend to not put filters on their cameras and if they do its always minor because they are obsessed with image quality. Kind of a shame in terms of IR pollution. I remember having to put my Hoya IR cut filter on every freaking lens I owned because the original pocket had such bad IR pollution. I think this cam will have the same issue. … David Altizer

Given that users of the coming Blackmagic Pocket Cinema Camera 4K will need to use fixed or variable neutral density filters on lenses attached to the camera, as it does not have built-in NDs like its URSA stablemates, it would be great if all NDs came with IR-cut capability, but they do not.

As a self-funded documentary moviemaker working fast and alone on location, variable neutral density filters are a more viable option than fixed value NDs and the last thing I want to do is add yet another layer of glass and filtration on top of my VNDs as Mr Altizer describes above.

Accordingly RAWLITE’s solution may be the bee’s knees provided it produces a version for the  Blackmagic Pocket Cinema Camera 4K in time for the camera’s projected release in September 2018.

Time will tell.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Blackmagic Design Pocket Cinema CameraB&H
  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • IR-Cut filtersB&H
  • Tiffen Hot Mirror filtersB&H
  • Tiffen Water White IRND filtersB&H

Aurora Aperture Inc.: PowerXND Mark II – The Best Variable ND Filters 1 – 11 Stops – Kickstarter Campaign

“… Schott B270® glass and high quality polarization film from Nitto Denko are used to build the PowerXND-II. Combined with a proprietary post-bonding polishing process the filters are able to meet high resolution demands of 4k/8k video and the high pixel density of modern day camera sensors. Multilayer nano coatings are utilized for light reduction, thus minimizing color shift. The PowerXND-II features high color accuracy on par with the benchmark of fixed ND filters….

Aurora Aperture PowerXND Mark II Variable Neutral Density Filters

Commentary

blackmagic_pocket_cinema_camera_4k_bmpcc4k_06_1024px_60pc
The Blackmagic Pocket Cinema Camera 4K by Blackmagic Design has dual native ISO like other contemporary cinema cameras and video cameras such as Panasonic’s Lumix DC-GH5S, with both base ISOs being rather high, demanding a wider range of densities in fixed or variable neutral density filters. The BMPCC 4K also requires IR-cut filtration whether built into NDs used with it or as a separate filter stacked on top.

Several days after its Kickstarter campaign launch on June 14, I accidentally come across this one for what looks to be a very promising new development in high-quality variable neutral density (VND) filters by California-Based Aurora Aperture Inc., makers of the PowerXND 2000 VND filters series.

The PowerXND 2000 VND filter with its 6mm thin frame is available in filter diameters of 37mm, 39mm, 40.5mm, 46mm, 52mm, 55mm, 58mm, 62mm, 67mm, 72mm, 77mm, 82mm, 86mm, 95mm, and 105mm.

That 105mm diameter and 6mm thickness sounds like a possible solution for STC Optical & Chemical’s Screw-in Lens Adapter for Olympus 7-14mm F2.8. for the Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro wide-angle zoom lens with manual clutch focus.

My chance discovery of Aurora Aperture’s current campaign happened too late to take advantage of the Large Early Bird (67-82mm) $US 150.00 pledge for one PowerXND-II 128 and one PowerXND-II 2000 in any size including  67mm, 72mm, 77mm or 82mm.

I would have chosen one PowerXND-II 128 and one PowerXND-II 2000 in 82mm diameter to account for the native and adapted lenses with wider filter diameters that are appearing nowadays for mirrorless hybrid APS-C and Micro Four Thirds cameras including the amazing Blackmagic Pocket Cinema Camera 4K by Blackmagic Design.

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Fujifilm X-H1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens, with 82mm filter diameter.

Formerly I standardized on 77mm filter diameters in conjunction with Breakthrough Photography’s excellent knurled brass step-up rings but now I am upgrading to 82mm with step-up rings also made by Breakthrough Photography for use with lenses like Fujifilm’s MKX 18-55mm T2.9 and MKX 50-135mm T2.9 parfocal zooms.

Major time zone differences between where I am now – Sydney, Australia – and where many of the most interesting Kickstarter campaigns originate – the United States and less so the United Kingdom – also mean that one often misses out on early bird specials for popular products such as those by Aurora Aperture Inc.

The moral of the story? Hope that you are going to hear about exciting new products like this one early enough despite the reality of time zone differences then leap in fast to catch the earlybird offer because it will be gone within hours if not minutes.

One thing that Aurora Aperture Inc. does not cover in its press release and other information about the two PowerXND Mark II Variable Neutral Density Filters is their infrared cutting capabilities, especially important in the light of the coming Blackmagic Design Pocket Cinema Camera 4K which does not have built-in IR-cut filtration and thus requires the use of neutral density filters with IR-cut capability, or special extra IR-cut filters to add to the filter stack on your lenses.

I enquired about this and Jeff Chen of Aurora Aperture Inc. replied thus:

Regarding the IR cut capability, we don’t have specific IR cut functionality in our filters. It’s something in our development plan and we have done some prototyping so far. We may release a line of products later this year with IR cut capability and certainly the BMPCC and BMPCC 4k are the target cameras for the products.

Good and bad news then for users of Blackmagic Design’s amazing Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K and its BMPCC predecessor – good in that a solution may be coming but bad in that we shall have to forgo Aurora Aperture’s current Kickstarter campaign and hope that another campaign for IR-cut capable versions of these two otherwise very attractive VND filters may eventually turn up.

Or, pledge to both versions of the PowerXND Mark II filters, IR-cut-less and IR-cut-equipped.

Given that many independent moviemakers relying on cameras by Blackmagic Design, Fujifilm and Panasonic are not exactly flush with cash, better perhaps to wait it for now if you use cameras that do and do not require an IR-cut solution.

Alternatively RAWLITE’s IR-cut OPLF may offer the optimal solution thus freeing users of the Blackmagic Pocket Cinema Camera 4K up to use non-IR-cut VNDs like these from Aurora Aperture.

Links

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Aurora Aperture filtersB&H
  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Fujifilm MKX18-55mm T2.9 Lens (Fuji X-Mount)B&H
  • Fujifilm MKX50-135mm T2.9 Lens (Fuji X-Mount)B&H
  • Fujifilm X-H1 Mirrorless Digital Camera Body with Battery Grip KitB&H
  • Fujifilm X-T2 Mirrorless Digital Camera Body with Battery Grip KitB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H

News Shooter: SLR Magic Circular Fixed ND Filters Review – COMMENTARY

http://www.newsshooter.com/2017/10/26/slr-magic-circular-nd-filters/

“The most common option for shooters using still photography lenses on digital cameras that don’t have in-built ND is to use a variable ND filter, but often this can lead to compromises in image quality. Using fixed ND filters often results in better overall image quality, but it does come at the cost of convenience….”

Commentary

The esoteric arts of creating top quality neutral density filters have come to the fore again in recent months with Breakthrough Photography’s Dark CPL & X4 GND Kickstarter campaign and Formatt Hitech’s release of their new Firecrest Ultra range.

I have been relying on one of the most highly recommended variable ND filters for some time, the Genustech Eclipse ND Fader, and it has proven itself well enough in the field though its technology is now somewhat behind the times.

I default to relying on Breakthrough Photography’s excellent brass traction-framed step-up rings as well as their brass traction-framed X4 UV filters and have been pleased with their performance.

But I have resisted investing in a set of circular fixed ND filters in the range of strengths I have been considering – 2 stops, 4 stops, 6 stops, 8 stops and possibly 10 stops for shooting time lapses in the way that Griffin Hammond demonstrates.

As much as I really like Breakthrough Photography’s optics, its manufacturing quality and especially its brass traction frames, I find the company’s circular fixed ND values of 3, 6 and 10 too limiting for video and 15 stops may not be necessary unless using a high base ISO camera like the Sony a7S series.

I need to shoot video run-and-gun as well as fixed-camera, with one, two or three cameras as needed, and that means more than one set of NDs or one variable ND.

The solution Matthew Allard writes about here – “I would buy a variable ND and several fixed ND filters – probably 0.9, 1.2, 2.1 and 3.0.” – has merit and I am now seriously considering buying my own SLR Magic fixed-plus-variable ND set.

Whether 2, 4, 6 and 8 stops or 3, 5, 7 and 10 stops, or something else again, the idea of combining such a fixed ND set with a matching 10-stop maximum variable ND filter is tempting.

Links

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Breakthrough Photography 62mm X4 UV FilterB&H
  • Format Hitech Firecrest UltraB&H
  • Genustech 82mm Eclipse ND Fader FilterB&H
  • SLR Magic 82mm Circular Fixed ND Filter – B&H – coming soon
  • SLR Magic 82mm Image Enhancer Pro FilterB&H
  • SLR Magic 82mm Self-Locking Variable Neutral Density 0.4 to 1.8 Filter (1.3 to 6 Stops) – B&H
  • SLR Magic 86mm Image Enhancer ND Filter (4 STOP)B&H
  • Xume Magnetic Filter Adapter SystemB&H