The front line of image control
The front line of image control
Faithful to your image
Effortless handling and simple tracking
While testing, we were shown ARRI’s FSND filters. I was very happy to get them because on all my previous shoots there’s been at least one scene where I had issues with neutral density filters. This is the first show where I didn’t have a single scene with issues. Usually ND filters cut the spectrum of the light, giving you washed-out skin tones or faded colors, whereas these filters do not, so they are a big step forward.
DOP Christian Rein
For me, it is very important to use the best quality filters during on-set grading. I follow the manufacturers' developments. When I first used the FSND filter, it was very convincing, I didn't see any color distortion, and since then I have always recommended this to D.O.P. Best choice for ALEXA cameras.
DIT Attila Tumbász (Known for: Radioactive, The King, The Song of Names, Bad Spies, Don't Breathe, Hercules and many more)
I’m a big fan of using real tungsten lights (not LED) and this, I’ve found, often creates infrared (IR) problems with different cameras. In situations where candle light or fire is used as a light source, since they can also emit high levels of IR, it is essential to have high-quality, full-spectrum IR filters. In my test, the winner was the ARRI FSND Filter.
DOP John Brawley (Known for: The Great, The Resident, Queen of the South, Offspring and many more)
When I take out the ARRI FSND 2.1 filter, it feels so lightweight, polished, and robust. Holding it up to my frame, I get a constant accurate color neutral image which matches my ALEXA Mini LF built in ND filters. It gives me a clean, neutral image workflow throughout my projects, whatever the backdrop.
DOP Daniel Cawthorne
Results of color difference in transmittance for an ARRI FSND filter (left) and a typical classic dye-based filter (right).
The inset numbers are C I E 2000(1:1:1).
ΔE ≤ 1.5 : Slight
1.5 < ΔE ≤ 3 : Noticeable
3 < ΔE ≤ 6 : Appreciable color difference
Optical coating design presents big challenges, and, unsurprisingly, only a few optics manufacturers master the ultrathin metal film coating process to deliver high quality and highly repeatable performing filters. The complete multilayer thin-film coating on one clear glass substrate side is roughly a ten thousandth of the substrate’s thickness, comprising several layers or complex mixtures of dielectrics, semiconductors and metals.
The absorbing layers embedded inside the coating stack have a thickness of only a few nanometers and thickness must be controlled with a precision in the range of 0.3nm or 0.000 000 000 3 meters. To give an idea of the scale we’re talking about, grass grows about 20 to 40 nanometers per second in the summer months.
Matte box filters are used in harsh environments and need to fulfil the camera team’s expectations on handling robustness, reliability, and optical performance over an extended period.
In the pictures you can see scratch marks, for which the load on a diamond tip with 200µm radius was progressively increased up to 50N (proportional to approx. 5kg load), while sliding on the specimen’s surface from left to right.
The top image shows an ARRI FSND sample; the lower a reference competitor’s thin film ND filter, for which even the substrate shows spallation under the applied pressure.