Friday, 17 January 2014

Notes on the Tiffen 4K Diffusion Tests

At the forthcoming BSC expo in London, Carey Duffy of Tiffen will screen the Tiffen 4K Diffusion tests I shot late last year. The tests consisted of a series of simple comparisons between every brand of Diffusion filter Tiffen currently offer and serve as an excellent reference.

Designed in conjunction with Steven Poster ASC the test is a simple, but very effective, starting point for a Cinematographer to compare the effect of Tiffens range of Diffusion filters before selecting specific filters to test under their own lighting conditions.

We wanted to keep as many of the parameters as simple and unbiased as possible. The light is soft but not too soft to allow us to see the effect of the filter. The half light allows us to judge contrast changes, the backlight and bare bulb allow us to see blooming. Similarly the Primo primes were chosen because I felt they were a). familiar to most Cinematographers worldwide and b). sat somewhere between Master Primes and Cooke S4's in terms of sharpnes and contrast and therefore would be a better lens to showcase the effect of the filter.

Shot on a Panavisied Sony F55 in 4K the tests will be presented in 4K at events around the world over the coming months. I believe the idea is that eventually Panavision and Technicolor, who co-sponsored the tests, will have copies of the 4K DCP as reference for projection in facilites around the world, so speak to your local Panavision/Technicolor rep for details, or contact Tiffen directly.

As Cinematographers we are very lucky to live in an age where we have such an extended array of creative filters at our disposal and I'd urge you to seek out these tests and see them in 4K.

Some Notes from the shoot:
- All footage was shot 4K raw on a Panavised Sony F55 using Primo Lenses.
- The 2 shot was shot on a Primo 27mm lens at a distance of approx 7 1/2 feet.
- The close up was shot on a Primo 75mm lens at a distance of approx 7 1/2 feet.
- The set was lit to a T5.6 and the lights were scrimmed down to give a shooting stop of T2.8
- The shooting stop of T2.8 was maintained throughout the 2 shot and any changes in density arising from the filters used were corrected for in the DI.
- No ND filtration was used on the camera except in the specific testing of the IRND combo filters
- For the IRND combo filters the lighting scrims were removed to bring the set back up to T5.6 and the lens was opened to T2 for the IRND.9 combo

Nick Shaw has detailed our Post workflow here

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