professional - Schneider
MPTV Filter
professional
For HD,
DSLR, Digital Video &
Cinematography
Introduction3
Diffusion and Contrast Filters
4
Classic Soft®
4
HD Classic Soft® 6
Hollywood Black Magic™
7
Classic Black Soft™
8
Double Classic Black Soft™
8
Black Frost®
9
White Frost™
10
DigiCon® 11
LowCon 2000™ 12
Diffusion and Contrast Screw-In Filter Versions
12
Polarizing Filters
13
True-Pol® Linear Polarizer
15
One-Stop Linear Polarizer 16
Circular True-Pol®
17
IR Filters
18
Platinum IRNDs
18
True Cut IR
20
Neutral Density Filters
21
Absorptive NDs
21
ND Combo Grads
22
Dual Grad
23
Neutral Density Attenuators
23
True-Match Vari-ND®24
ND Vario MRC nano
24
Diopters25
Split-Field Diopters
26
True-Streak® Filters
27
True-Streaks 27
True-Streak® Confetti
28
Protective Glass
29
Rhino Glass™
29
Optical Flats
29
Color Correction Filters and Enhancers
30
UV-410 Penetrates Haze
30
81 Series For Skin Tones
30
85 & 81EF Color Conversion
31
Combination Filters
31
Enhancing Filters
32
Day for Night
32
Corals
33
Magentas
33
Classic Sunset
34
CTB Color Correction
34
Storm Blue Soft Edge Graduated Filter
35
Sapphire Blue Solid Filter
35
Solid & Grad Color Effects Filters
36
Solid Color Filters
36
Graduated Color Filters
37
4˝ Filter Holder
40
Filter Kits
41
True-Match 10-stop variable ND Filter Kit with Holder
43
Landscape Control Kit with Holder
45
True-Match Vari-ND® Upgrade Kit for Landscape Control Kit 46
Clairmont In-Camera Filter System for ARRI Alexa
47
2
Schneider-Kreuznach Filters
For Professional HD, DSLR,
Digital Video & Cinematography.
Schneider-Kreuznach represents a long history of
extraordinary lenses and filters for many industries
including still photography, High Definition, television
broadcasting, cinematography, and digital projection. It’s
no wonder Schneider-Kreuznach filters for motion pictures
and digital cinematography are the finest in the industry.
Consistent Precision
Diamond cut from crystal-clear, water-white optical
glass, Schneider-Kreuznach filters are ground and
polished to a precise flatness and plane-parallelism
(exact parallel relationship between front and back filter
surfaces). Then, to ensure perfection, this is verified by
a laser interferometer. The filters are then checked with
a densitometer for consistent density and tested with a
spectrophotometer for proper light transmission. This
ultra-high consistency allows cinematographers to swap
like filters mid-shoot with no discernible variation in color
or effect. What’s more, the unprecedented purity, color
saturation and repeatability of Schneider-Kreuznach
filters virtually eliminates the need for lab color timing
correction.
Ultra Durability
Schneider-Kreuznach filters stand up to the most rigorous
demands on set or location. Many feature a specially
formulated hard anti-reflective coating to resist flaking,
peeling and scratching. This proprietary coating also
reduces light loss and flare to less than 1 % per surface,
compared to untreated glass that has a light loss of
4 % per surface. The screw-on filters feature virtually
jam-proof precision mounting rings, while unmounted
laminated filters are protected against delamination and
edge-chipping by the unique Edge Seal of SchneiderKreuznach, which also reduces edge reflection and edge
flare.
Professional Sizes for Film and Digital Imaging
The filters are available in popular sizes in either round or
square/rectangular design.
For more information or additional sizes, please contact us.
3
Diffusion and Contrast Filters
Generally, diffusion falls into one of three main categories:
1. Image softening filters. Primarily affect resolution. Act
cosmetically to hide wrinkles & blend blemishes on
actors.
2. Black fogging filters. Low cons and other filters that
raise the exposure of black levels.
3. White or highlight-flaring filters. Put a halo around blown
windows, light sources, or areas of high exposure. Can
also be used to reduce picture contrast by lowering
white exposure, and to create romantic or period looks.
As with all Schneider optical glass filters, Classic Soft
filters are designed for use in front of long lenses, singly
or in combination, for even greater creative control.
Extreme Consistency
Classic Soft filters are manufactured to Schneider’s
renowned standards so same strength filters can be
switched between A & B cameras, or lost filters can be
replaced, with no discernable difference.
The Secret of In-focus Diffusion™
Hundreds of Micro-Lenslets™ arrayed within each
Schneider Classic Soft filter provide a precisely controlled
soft image that is overlaid on a sharp, in-focus image. The
number of Micro-Lenslets per square inch determines the
image-bending effectiveness of each Classic Soft filter.
This combination diffuses the image while maintaining
overall sharp focus.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Strengths: 1/8, 1/4, 1/2, 1, 2
D
Classic Soft®
Application: Blend
small wrinkles and
blemishes, while maintaining overall sharp focus to
conceal the use of a softening filter. Greater strengths (I, 2)
can add a mood to the scene by causing highlights to
glow softly. Use with cine or HD cameras with 2/3˝ chip
or larger.
Schneider has developed a subtle and effective softening
filter that can be used freely without fear of compromising
the high quality of contemporary lenses. Schneider Classic
Soft® filters are made possible by state-of-the-art optical
technology and a proprietary manufacturing technique.
In the normal range of exposure, this filter imparts only
a closely confined, very subtle glow to highlights. If
large amounts of over-exposure exist in a scene, like a
blown window, Classic Soft filters add a stylish glow that
keeps the scene’s contrast under control, while adding a
romantic look.
4
B
C
D
A
Schneider
Classic
Soft®
filters are manufactured using
optical glass that is diamond
cut, precision ground and
polished to ensure uniformity
and consistency. Sandwiched
between two pieces of this
optical glass (A) are hundreds
of
precision
Micro-Lenslets
(B). During use, image light
(C) that passes through each
Micro-Lenslet is only slightly
refracted (D), while light (E)
passing
between
MicroLenslets is unaffected. Classic
Soft filters are tested with a
laser interferometer to ensure
exact flatness and the parallel
relationship between both sides.
“When shooting a multi-camera
series you are consistently cutting
back and forth between cameras.
I never worry about matching
because I always have Schneider
filters on each lens.”
Don A. Morgan, ASC
5
HD Classic Soft®
Hollywood Black Magic™
Application: For subtle softening when using new 1/2˝,
1/3˝, and 1/4˝ chip cameras. Blends small wrinkles and
blemishes while maintaining sharp overall focus.
Application: To remove unsightly blemishes & wrinkles
while providing the look of an airbrushed texture to
the image. Can subtly diminish the video edge while
maintaining rich blacks and colors.
When professionals asked for a way to bring subtle,
softening effects to High Definition, Schneider listened
and met the challenge. HD Classic Softs impart a closely
confined, very subtle glow to highlights. If large amounts
of overexposure exist in a scene – like a “blown” window –
they produce a stylish glow that keeps the scene’s
contrast under control, while adding a romantic look. This
effect also blends small wrinkles and blemishes, while
maintaining an overall sharp focus that conceals the fact
that a softening filter has been used.
These new filters are designed to allow shooting in all HD
formats, including 1/2˝, 1/3˝ and 1/4˝ chip cameras without
fear of artifacts. Like all Schneider-Kreuznach professional
filters, the HD Classic Soft® line is manufactured from
crystal clear, water-white optical glass that is diamond
cut, precision ground and polished to the most exacting
tolerances, to ensure absolute uniformity and consistency.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝, 5˝ x 5˝, 5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Screw-In 43 mm to 138 mm
Strengths: 1/8, 1/4, 1/2, 1 and 2
The HD Classic Softs produce the same rich In-Focus
Diffusion™ as the standard Classic Soft series. Each
one contains a carefully calculated amount of precisely
positioned Micro-Lenslets™. These provide a controlled
soft image that is overlaid on a sharp, in-focus image,
creating In-focus Diffusion™.
“Hollywood Black Magic™ Filters
are nothing short of amazing.
When
shooting
HD,
you
suddenly see everything. All the
imperfections not meant for the
audience to see. Make-up freaks
out. Same with set designers
and even actors. The Hollywood
Black Magic on HD can do away
with all of that. It makes the
image seem more like film”
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝, 5˝ x 5˝, 5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Screw-In 43 mm to 138 mm
Strengths: 1/16, 1/8, 1/4, 1/2 and 1
6
Building on the success of HD Classic Soft® filters with
the Micro-Lenslet design and Black Frost® filters’ Black
Micropore technology, Hollywood Black Magic™ filters
combine the best attributes of both. The shooter can
select from a wide range of diffusion choices from subtly
diminishing the „video edge“ to removing years off the
age of a person. Pleasant softening of bright highlights
helps control exposure while maintaining rich blacks and
colors.
Brian J. Reynolds, DP
7
Classic Black Soft™
Black Frost®
Application: Combines the
benefits of Classic Soft®
with the subtle effects of
the Black Frost® 1/8. Ideal
for close-ups, and can be
used to facilitate a seamless
transition in the look and
continuity from scene to
scene, adding pleasing
diffusion for High Definition
cameras.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝
(Panavision size), 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Application: A fine black mist flairs highlights, tones down
contrast, while retaining rich blacks. Black Frost® filters
give a “filmic look” to High Definition images. Depending
on the strength, they subtly enhance a scene without fear
of image degradation or reduction of black saturation.
Strengths: 1/8, 1/4, 1/2, 1, 2
Double Classic Black Soft™
Application: For in-focus diffusion plus a heavier Black
Frost® effect, without filter stacking. Combines the features
of the Schneider Classic Soft® with a Black Frost 1/4.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Strengths: 1/8, 1/4, 1/2, 1, 2
“What the Classic Black Soft™
does in maintaining the look in
HD is priceless! The subtle pop
reminds me of what film does.
Schneider is the Rolls Royce of
glass.”
William Webb, DP
8
Black Frost filters enable cinematographers to capture
blacker blacks than possible with similar type filters.
Shooters achieve a unique image styling that can be
applied freely, without fear of having scenes appear heavy
handed.
Thanks to proprietary design & manufacturing techniques,
Black Frost filters contain thousands of MicroPore™
particles, which introduce precise amounts of light
diffraction while controlling stray light and flare – like
never before.
MicroPore particles control the degree of diffusion in
a predictable and repeatable manner. By eliminating
excessive light scatter and veiling glare associated with
other makes, Black Frost filters enable extraordinary
control and convenience. Black Frost filters can be used
in front of long lenses, alone, or combined with other
Schneider filters.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Strengths: 1/8, 1/4, 1/2, 1, 2
9
White Frost™
DigiCon®
Application: For a “filmic look” when shooting with
digital cameras. When in front of the lens, optically raises
black levels while lowering highlights, capturing a higher
dynamic range.
By compensating with in-camera gamma settings, a
higher dynamic range can be recorded than the camera
alone can achieve. The result is more detail in highlights
and shadows with no effect on resolution and no color
shift. Highlight areas remain clean and halo-free. Use it on
a 35 mm cine camera to approximate the look of a lower
contrast film stock.
Application: A fine white mist lowers contrast and flairs
highlights, while creating a dreamlike effect. Doesn’t
affect image resolution or color reproduction. Used for
picture styling & mood modifying.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝, (Panavision size) 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Strengths: 1/8, 1/4, 1/2, 1, 2
White Frost filters are useful for adding a halo around light
sources, blown windows, or other areas of high exposure.
They can also reduce picture contrast by lowering white
exposure, and can help create a romantic or period look.
Depending on the strength, they enhance a scene, subtly
or strongly. For a soft, romantic look, combine White Frost
filter with a Schneider Classic Soft®.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝, (Panavision size) 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Without DigiCon®
With DigiCon®
Strengths: 1/8, 1/4, 1/2, 1, 2
“Thanks to the Digicon®, when
we do exteriors, the pavement
can be hotter and the foliage
plays nicely. It allows me to
create a much more filmic look.
I no longer have to reign in the
highlights & I can open up the
blacks.”
George Mooradian, ASC
10
11
LowCon 2000™
Polarizing Filters
Polarizers are Versatile Tools
Application: To mute the excessive contrast and spread
light into shadow areas. Can desaturate a scene for artistic
mood. Lower strengths can be used to take the high
contrast edge off today’s lenses.
Unlike similar filters, LowCon 2000 filters reduce black
contrast without reducing resolution or muddying the
image.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝
Strengths: 1/8, 1/4, 1/2, 1, 2
Polarizers are commonly used to control glare on water
and to allow the camera to see below the surface. They
are also used to reduce glare on car bumpers and control
reflections on plate-glass windows. Polarizers are so
versatile they can also perform the opposite functions.
Some use polarizers to increase or enhance reflections,
simply by changing the filter’s setting. Ideal for:
· Darkening skies for dramatic impact. While graduated
neutral density filters can also be used to achieve this
effect, the need to position their transition line accurately
precludes their use in many applications. Polarizers do
not suffer from this limitation.
· Suppressing reflections & capturing truer color when
filming actors through a windshield and from other
rigged-car camera positions.
· Greatly adding to the drama and appeal of the shot
when shooting food (particularly meat or liquids).
· Increasing the color saturation of any object with a glossy
surface.
Diffusion and Contrast Screw-In Filter Versions
True-Pol® Polarizing Filters
Application: Professional still formats and DV cameras
requiring a filter that screws onto the front of the lens
without a mattebox.
The most effective polarizer made for cine and electronic
cameras, Schneider True-Pol® filters have a high extinction
ratio, twelve times more effective than other such filters!
Schneider’s industry-standard diffusion filters used in
feature film cinematography and television are now
available for film, digital SLR and HD video cameras.
Unmatched in ability to:
Classic Soft®
HD Classic Soft®
Hollywood Black Magic™
Black Frost®
· Reduce glare & unwanted reflections
· Saturate colors & improve contrast
· Deepen blue skies
· Penetrate haze
Sizes: Round Screw-In filters are available in 43, 58, 62,
72, 77, 82 mm
12
13 13
True-Pol®
Polarizing Filters
True-Pol® Linear Polarizer
True-Pol filters utilize polarizing film
between two pieces of crystal-clear,
glass. The filter is protected against
delamination by a unique Edge Seal
reduces edge reflections & flare.
which is laminated
water-white optical
edge-chipping and
process, which also
The absolute clarity of the glass combined with advanced
polarizing material make True-Pol filters particularly useful
on demanding scenes, like shooting through windshields
in rigged vehicles. Cinematographers report that True-Pol
filters capture more color saturation, wider tonal range
and greater contrast inside the car.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-Ins Series 9, 4.5˝, 138 mm, 6˝, 9.5˝ (Round
unmounted)
Without True-Pol®
14
14
With True-Pol®
15
One-Stop Linear Polarizer
Circular True-Pol®
Applications: Low light such as indoors or night requiring
elimination of glare and reflections off surfaces like car
and storefront windows.
Application: To prevent viewfinder black-out on cameras
which employ polarizing elements in the beam-splitters
of the viewing system, like Arriflex 435 and MovieCam
Compact.
While the standard True-Pol is 1 3/5 stops, the One-Stop
Linear Polarizer significantly reduces reflections while
reducing available light by just one stop.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Special orders for Rounds as well as 40.5 mm and 48 mm
threaded behind-the-lens filters (with anti-reflection multicoating)
Camera beam splitters send light in two directions: to an
eyepiece and to a video tap. Light in a camera’s viewing
system can become polarized, and when a standard
(linear) polarizing filter is attached to the lens, the light
becomes cross polarized. This hinders visibility and can
create total blackout of the viewing image and/or the
videotap.
Circular Polarizers employ a two layer design to prevent
blackout. The first layer is made of the polarizing substance
used in all True-Pol® filters. Layer two is made of a 1/4wave retarder plate to prevent cross-polarization.
To ensure correct lens barrel placement, Schneider clearly
marks the Circular True-Pol® filters’ outer surface.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm
“I love Schneider One-Stop
Linear Polarizers for interiors.
They allow me to handle the
occasional cross-light shine on
complexions without having to
deal with lighting.”
Francis Kenny, ASC
16
17
IR Filters
Emmy® Award-Winning Platinum IRND Filters for Digital
Cameras
These filters eliminate the undesirable effects of
IR contamination or pollution that can occur when
photographing bright scenes with digital cinema CMOS
sensor cameras. Can be used as an IR reduction filter or
in combination with ND, controlling exposure or depth of
field under various lighting conditions without affecting
color or contrast.
To solve this problem, the Platinum Series IRND filters
limit the light striking the camera’s CCD or CMOS imager
to the visible spectrum. By carefully calculating the cutoff
frequency in nanometers, Schneider has been able to
produce a near infrared cut filter that lets users of High
Definition cameras get the most out of their camera
gear. This means the benefit of an extended color gamut
without the worry of unwanted false colors. Eliminating
the near infrared light leakage lets the camera maintain
true color rendition in the blacks while maintaining high
MTF of its lenses and camera system.
2-in-1 Function
The Platinum IRND combines the best attributes of
Schneider’s Platinum series IR filter and Neutral Density
(ND) filters in a single convenient package. Blending two
effects into one filter makes it possible to have less glass
in front of the lens – lowering the risk of a dirty surface,
flairs, reflections between the layers, or even the miniscule
loss of clarity that may occur when using multiple filters
simultaneously.
Great as a standard ND
Schneider Platinum Series IRND filters are free of offaxis color shift regardless of the focal length and can be
stacked without introducing reflections. In addition, they
can be used with all current digital and film cameras as
IRND or standard N.D.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm, 4.5˝, Series 9
Round Screw-In 72 mm, 77 mm, 82 mm, 95 mm
Strengths: IRND.3, IRND.6, IRND.9, IRND 1.2, IRND 1.5,
IRND 1.8, IRND 2.1
Platinum IRNDs
Cinematographers have found that many of today’s
high definition cameras have a high sensitivity to light
just beyond the visible range. This can be beneficial in
extending the color gamut of digital cameras to closely
approach that of traditional film. However, light in the IR
spectrum can also cause unwanted false color shifts and
prevent the camera’s imagers from capturing true black
tones.
18
“Schneider came through for us
with some of the first sets of their
great new Platinum IRNDs, and
all our color matching problems
disappeared.”
Lowell Peterson, ASC
19
Neutral Density Filters
True Cut IR
Application: IR contamination when photographing scenes
with digital cinema CMOS sensor cameras.
Schneider-Kreuznach has developed a family of IR filters
to complement the demanding requirements of today’s
High Definition cameras. High Definition camera arrays
have a high sensitivity to light beyond the visible range.
This can be beneficial in applications such as machine
vision or surveillance but for most production this tends to
be a problem due to unwanted color shifts in dark or black
materials. The True-Cut IR filter solutions eliminate this
problem by limiting the light striking the CCD or CMOS
imager to the visible spectrum.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Screw-In 77 mm
Neutral Density (ND) Filters
control exposure or depth of
field under various lighting
conditions without affecting
color or contrast.
· Permit use of high-speed film
in bright lighting conditions.
· Diminish distracting backgrounds by allowing the use of
wider apertures to reduce depth of field as required to
throw the background out of focus while maintaining
subject focus.
· Help control the amount of light reaching the film without
relying solely on the lens aperture.
· Enable even exposure in an unbalanced lighting situation.
Absorptive NDs
Schneider-Kreuznach offers a full range of densities
which provide exposure reductions of one to six stops,
respectively. Maintaining a low F-stop for depth of field
these filters are used for control of bright day exteriors
Only Schneider Absorptive ND filters are a laboratoryprecise neutral gray. Each filter is made of two pieces of
crystal-clear optical glass, which allows for the transmission
of the truest possible attenuated light. To prevent edgechipping and delamination, they feature Schneider’s
proprietary Edge Seal.
“Despite improved filtration
built into RED’s new MX sensor,
Schneider IR filters are still
essential to consistently ensure
true blacks when shooting in
bright sunlight with heavy ND.”
James Mathers, DP
20
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝
Round Drop-In 138 mm, 4.5˝, Series 9
Round Screw-In rear mount 40.5 and 48 mm
Strengths: ND.3, ND.6, ND.9, ND 1.2, ND 1.5, ND 1.8
21
ND Combo Grads
Dual Grad
Application: Help balance exposure and/or compensate
for the limited dynamic range of digital cameras. Add
two stops of ND to control overexposure of the sky or
exposure of a scene from side to side. For example, a
scene looking down a city street with buildings on one
side in direct sunlight and shaded buildings on the other.
The same technique can be applied indoors when a
window or doorway blows out. For more of a film look, the
cinematographer can decrease depth of field by shooting
wide open.
Application: To control exposure and/or depth of field
for 2 different areas of the frame. Ideal for car shoots to
neutralize the sky above the vehicle & the foreground
below.
The ND combo combines a solid neutral density filter (0.3,
0.6, 0.9, 1.2) with a soft edge 0.6 ND. In all densities, the
additional soft edge is two stops more than the lower half
of the filter.
Size: 6.6˝ x 6.6˝
Strength Combinations: ND 0.3/0.9, ND 0.6/1.2,
ND 0.9/1.5, ND 1.2/1.8
This unique filter offers a clear area separating 2 graduated
ND attenuator sections. One section covering 2/3 of the
glass graduates from 4 stops to the central clear, while the
smaller 1/3 goes from 2 stops at
the edge to the clear section.
Size: 6.6˝ x 6.6˝
Strengths: ND 1.2 up/.6 down
Neutral Density Attenuators
Application: To control overall exposure and depth of field
under various lighting conditions, without affecting color
or contrast. Neutral Density (ND) Attenuators are used
to control difficult lighting conditions such as bright sun,
shadow shots of city streets or excessive bright windows
in an interior shot without having to hide a grad line within
the scene.
These filters diminish distracting backgrounds by enabling
the use of wider lens apertures, thereby reducing depth
of field. Conversely, they can be used to properly expose
varying light levels within a given frame and allow the
amount of light reaching the film to be controlled without
relying solely on camera aperture. Made of the finest
crystal-clear, water-white optical glass, ND Attenuators
are precision engineered with unparalleled smoothness,
uniformity and consistency and can be used alone or in
combination with other filters with no image degradation.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ Horizontal (Panavision size),
5˝ x 5˝, 5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Strengths: ND.3, ND.6,
ND.9, ND 1.2, ND 1.5,
ND 1.8
22
23
Vari-ND Screw-Ins
Diopters
True Match Vari-ND®
Vari-ND Thread-In is a single,
low profile filter with both
True-Match Polarizing filters
in the correct orientation for
maximum ease of use and
efficiency. The low profile
ring prevents vignetting
on most DSLR camera
lenses. By simply turning
the built-in rotating ring, the
photographer dials in the
perfect amount of ND for the
scene, from 1-1/3 to 10 stops
of light loss.
Sizes: Round Screw-In 77 mm, 82 mm
Step rings are available in common sizes to adapt the 77 mm
and 82 mm size to smaller lens thread diameters.
These high-quality close-up lenses require absolutely no
exposure compensation. Schneider-Kreuznach Diopters
are made from the finest optical glass. They feature
Schneider’s hard, anti-reflective coating on both front and
rear surfaces. This measurably reduces light loss and flare
while helping to ensure proper color, contrast, and overall
image quality. Screw-on Diopters are supplied with brass
mounting rings, while drop-in models feature rugged
black anodized aluminum rings.
Application: Diopters shorten the close-focusing distance
of normal fixed focal length or zoom lenses. This allows
the camera to focus closer to the subject and achieve a
larger image size, while bringing out the sharpest details
in even the tiniest subjects.
The Diopters are protected by a unique mounting
technique which ensures superb structural integrity and
consistent long-term performance, even in the harshest
production environments.
Sizes: Round Drop-In Series 9, 4.5˝, 138 mm and 6˝ unmounted
For drop-in matte boxes
ND Vario MRC nano
Application: The ND Vario filter
can be adjusted exactly to meet
individual requirements. To this
end, it comes with a continuous
setting function with which the
photographer can determine
the required density reduction
between +1 and +5 f-stops. To
prevent aberrations, the light
reduction cannot be set beyond
a critical level.
Strengths: +1/2, +1, +2, +3
For greater magnification, two Schneider Diopters can be
combined
Size: Round Screw-In 95 mm
24
25
True-Streak® Filters
Split-Field Diopters
Clearly the most effective and exciting way to simulate
the anamorphic blue streak effect with virtually any lens,
anamorphic or not. Long, brilliantly colored streaks
emanate from bright lights and highlights.
Application: To enhance depth of field. Permit more of
the scene to be in total focus simultaneously. Often used
to increase depth of field in pictures shot with anamorphic
lenses.
The Split-Field Diopters are semi-circular, single-element
close-up lenses mounted in precision-crafted metal rings.
To prevent the optical element from rattling or coming
loose, Schneider first fits the glass to the mount with great
precision and then locks it firmly in place with a state-ofthe-art sealant. Selecting the proper Split-Field Diopter
for your scene depends on:
· Diopter power
· Distance from the lens to the far subject
· Distance from the lens to the close-up subject
Sizes: Round Drop-In Series 9, 4.5˝, 138 mm and 6˝
unmounted Rounds
Strengths: +1/2, +1, +2, +3
Create dramatic streak effects simply and easily in camera
with Schneider True-Streak™ Filters. These exciting outof-the-box filters are made from the same water white
optical glass for which Schneider is famous.
True-Streaks
True-Streaks are available in a variety of colors so you can
create effects not only in Blue, but also in Red, Orange,
Green, Yellow, Violet, Pink, as well as Clear. All different
colors are each available in your choice of four strengths
for stronger or more subtle effect.
Whether you want a creative way to enhance night
exteriors, highlight reflections off chrome surfaces, wow
them with vibrant rock‘n roll illumination or achieve other
stand-out imagery – choose True-Streaks to liven the look
with stunning effects.
Colors:
Blue, Red, Yellow, Orange, Green, Violet, Pink, Clear
Sizes:
Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 6.6˝ x 6.6˝
Round Screw-In 77, 82 mm (all colors, strength 2 mm)
Strengths:
1 mm (strongest), 2 mm, 3 mm, 4 mm
26
No Diopter
+1/2 Diopter
+2 Diopter
+3 Diopter
27
True Streak® Confetti
Protective Glass
Rhino Glass™
Application:
Antireflective water-white
glass to protect onboard monitors, vector
scopes, and waveform
monitors.
The newest member of the True Streak® family is the
Confetti Filter. When mounted in front of the shooting
lens, the Confetti filters create mini-streaks that appear
as a sparkle or fireworks effect. Very thin cylindrical lenses
are bedded into the glass in a particular pattern. Different
colors are put into the glass in different angles. When
panning the camera in scenes with a lot of different points
of light, it goes over of each of the individual cylindrical
lenses. The light shows up in different colors and sparkles
in different directions which gives the fireworks-like look.
Sizes:
Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 6.6˝ x 6.6˝
Round Screw-In 77, 82 mm
Made from waterwhite precision optical glass and treated with a durable
anti-reflective coating, Rhino Glass cost-effectively protects
the screens of expensive on-board monitors and the front
of 3D Rigs. Attaching with Velcro® or RTV provides easy
removal for cleaning or replacement. Rhino Glass can be
cleaned with common glass cleaners.
Available in popular sizes.
Custom sizes available on request.
Optical Flats
Application:
During stunts which
can damage a lens,
Schneider Optical Flats
protect expensive
front elements and
other filters, while providing the truest image, free of
unwanted color shifts.
These filters minimize or eliminate the need for laboratory
color correction caused by filter variation. Both the front
and rear surfaces of these solid-glass (non-laminated)
filters receive Schneider’s hard anti-reflective coating,
which measurably improves light transmission.
Sizes:
Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝, 5.65˝ x 5.65˝,
6.6˝ x 6.6˝
Round Drop-In Series 9, 4.5˝, 138 mm
28
29
Color Correction Filters and
Enhancers
Color Correction filters change the color content of the light
to match the color response of the film and permit the user
to creatively modify color in subtle ways. Encompassing a
wide range of colors and densities, color correction filters
are categorized into three main groups: Color Conversion,
Light Balancing and Color Compensating. Each can create
a wealth of practical color-temperature corrections and
creative color effects.
85 & 81EF Color Conversion
Application: The 85 is primarily used to correct the color
of tungsten balanced film when shooting in daylight. The
81EF helps penetrate light fog and eliminates the strong
blue tone & haziness produced by UV light. The 81EF
reduces blue tones in shadow areas without causing the
look of an overcast sky. An 81EF can be combined with
an 85, to achieve over-correction resulting in a warm look.
The 85 remains the industry’s most commonly used color
conversion filter. Schneider strictly adheres to Kodak
Wratten color standards.
UV-410 Penetrates Haze
Application: Ultraviolet-blocking filter effectively reduces
or eliminates photographic haze in locations where the
atmospheric conditions contain a heavy concentration of
dust particles, water droplets & pollution.
Photographic haze – often found in mountainous or
coastal regions and industrial areas – scatters light and
produces a bluish cast causing film to render a lack of
color, contrast and overall image quality. By filtering out
ultraviolet light below 410 nanometers, the UV-410 blocks
the blue cast, penetrates haze and permits the film to
capture vivid colors and sharper detail.
81 Series For Skin Tones
Application: The 81-Two is used to accentuate skin tones
for a warmer appearance. For a subject with darker skin
tones, the 81-One is more appropriate. Ideal for romantic
close-ups, the 81 Series can be combined with softening
filters.
Without a Schneider 85 filter
With a Schneider 85 filter
Combination Filters
Application: When more filter effects are desired than can
be fit in a two or three slot matte box, combination filters
make it possible.
Blending two or more filter effects into one filter makes
it possible to have less glass in front of the lens – an
advantage when using several filters simultaneously.
Schneider’s 85 Neutral Density combination filters are
precision ground and polished to a perfect flatness and
parallel thickness, and feature Schneider’s unique Edge
Seal, which prevents edge-chipping and delamination,
and also reduces edge-reflections & flare.
Schneider-Kreuznach offers several other combination
filters including the 85/True-Pol® & 81EF/True-Pol.
Schneider’s 81-One and 81-Two are two warming filters
were born from the 81-A. Both filters are designed to
add warmth to skin tones and reduce excessive blue in
outdoor open shade.
30
31
Enhancing Filters
Corals
Application: Improves the color saturation of reds,
oranges and earth-tones such as rust, brown and amber.
Application: To warm cool lighting situations such as
overcast days and scenes in open shade.
The range of colors improved by the Schneider Enhancing
filter (made from didymium glass) makes it popular for use
on autumn foliage and brownish-red scenic compositions,
such as those found at the Grand Canyon. It is also the
filter of choice for intensifying the red in objects such
as tomatoes, cherries, strawberries and fire engines. For
more dramatic and exciting effects, an Enhancing filter
can be combined with a polarizing filter.
Varying strength Coral filters can be used to achieve
the same degree of apparent warmth under different
light conditions. This makes them particularly useful for
maintaining consistent color balance throughout an entire
day of shooting, or to create a sunset or dawn effect
during the day. Can be used as warming filters for dramatic
effects or to under-correct a scene for an excessively blue
look, adding drama.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In Series 9, 4.5˝, 138 mm
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Drop-In 138 mm
Densities: 1/8, 1/4, 1/2, 1 & 2
Without enhancing filter
With enhancing filter
A graduated Coral filter can enhance
a sunset.
A Schneider Coral filter enhances
orange foliage.
Day for Night
Magentas
Application: For a believable nighttime look.
Application: Correcting fluorescent lighting, music videos.
The Day for Night combines Neutral Density and a slight
aquamarine blue to simulate moonlight conditions. Total
stop loss for the filter is 4 stops.
Schneider graduated Color Correction filters are rated
1, 2, 3. All Magenta filters are matched exactly to Kodak
Wratten standards.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Densities: 10 cc, 20 cc, 30 cc
32
33
Classic Sunset
Storm Blue Soft Edge Graduated Filter
Application: Works with a wide range of focal lengths to
enhance an existing sunset or create the illusion of a flame
orange sunset where none exists.
Application: The Storm Blue Soft Edge Graduated filter
adds gray green color to ocean and sky for a greater
dramatic, stormy effect.
The Classic Sunset filter offers intense flame orange color
that transitions to a soft gold gradient band across the
center. The density at the darkest edge is 2 stops. The
other half of the filter is clear.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Without a filter
With a Storm Blue filter
Sapphire Blue Solid Filter
Without a filter
With a Classic Sunset filter
Application: The Sapphire Blue Solid filter adds an indigo
blue color to the scene. It is most useful when a more
dramatic blue effect is required. This filter is available
in strengths of 1, 2, & 3 and as graduated filter. These
strengths achieve a subtle, moderate, or bold effect.
CTB Color Correction
Application: When working in HD, balances temperature
from tungsten toward daylight.
Many of today’s HD sensors are designed to work best in
a daylight balanced lighting spectrum. With presets that
compensate for tungsten light, this often raises significant
noise in color channels under difficult low light conditions.
The CTB filter line balances color temperature from
tungsten toward daylight in incremental steps. Users then
have control to correct as much or as little of the exposure
as desired. So they can color correct while maintaining low
noise levels at minimal light level.
Without a filter
With a Sapphire Blue Solid filter
The CTB filter line has been designed to correspond to
existing lighting color correction standards, offering a
range of correction for most situations. Stop loss is 0.17 for
the eighth, 0.24 for the quarter and 0.34 for the half. These
filters maintain a high MTF (modulation transfer function).
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝. Round Screw-In 77 mm
Corrections: 1/8, 1/4, 1/2
34
35
Solid & Grad Color Effects Filters
Graduated Color Filters
Solid Color Filters
Sahara Gold*
Application:
specially useful in creating
a rich, warm scene for an
old Technicolor look. This
filter approximates 3/4 the
color correction value of an
85 filter. Can also replace
an 81EF for a cool look.
Holds skintones better
than 81EF.
Maui Brown
Application:
Enhances browns & golds,
gives depth to foliage
& architecture. Lightest
density #1 excellent for
enhancing dark skin tones.
Amber (solid 3)
Application:
Can simulate the effect
of candlelight or a firelit
scene.
Antique Suede
(solid 1)
Application:
Reduces
greenish tint in complexion
shadows. Outdoors it helps
accentuate foliage.
Gold (solid 3)
Application:
For
an overall warming effect.
Portrays healthy skintones
and accentuates foliage.
36
Golden Sepia
(solid 1)
Application: For a period
look like in old photographs.
Chocolate
(solid 2)
Application:
Natural
warming effect. Helps
smooth transition between
light and dark complexions.
Tobacco (solid 2)
Application: For an
old west period look.
Paradise Blue
(solid 3)
Application: Adds vibrant
color to washed-out sky.
Sapphire Blue
(solid 3)
Application: Adds indigo
blue color.
Storm Blue
(solid 2)
Application: Adds gray
green color to ocean and
sky for a stormy effect.
All of the solid color filters are
available in
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝
(Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Densities: 1, 2, 3
Application: Add color to part of a scene where color may
be weak or absent. Can also be used for color effects
which contribute to the cinematic drama of a scene.
All Schneider-Kreuznach Graduated Color filters are part
clear and part color. They are designed to be used in
professional matte boxes, so that they are readily positioned
at the exact angle required to create desired effects.
Graduated Color filters, designed to provide a wide range
of photographic effects, work well with sky, foliage and
skin tones. They can be combined with each other, or
with other filters, to provide a virtually limitless range of
breathtaking effects.
The Neutral Density (ND) Grads can be used to balance
exposure in uneven lighting situations or to increase color
saturation in sky scenes, by lowering sky exposure.
Soft or Hard Edge
Schneider-Kreuznach makes both soft-edge and hard-edge
Graduated Color filters. Typically soft-edge filters are used
with wide to medium-angle lenses because these lenses
have greater depth of field. Hard-edge filters are preferred
for use with telephoto lenses or for bold transitions.
All Graduated Color filters perform beautifully, providing
exactly the desired degree of color effect without calling
undue attention to the transition of the filter itself. In fact,
soft-edge Graduated filters have such a smooth transition
from color to clear, that the point of transition is not readily
visible even when using short focal-length lenses. It’s also
the filter of choice when shooting irregular horizons or city
skylines.
37
Graduated Color filters feature crystal-clear, water-white
optical glass, and are protected against edge-chipping
and delamination by Schneider’s unique Edge Seal, which
also significantly reduces edge reflections and flare.
Sizes: Square 4˝ x 4˝, 4˝ x 5.65˝ (Panavision size), 5˝ x 5˝,
5.65˝ x 5.65˝, 6.6˝ x 6.6˝
Round Screw-In 77 mm
Corrections: 1/8, 1/4, 1/2
No filter
Hard-edge blend
Soft-edge blend
Soft-edge blend
Vertical 4˝ x 5.65˝
Horizontal 4˝ x 5.65˝
Hard-edge blend
38
39
4˝ Filter Holder
Filter Kits
The 4˝ Filter Holder is made to hold Schneider MPTV 4 mm
thick water-white Schott glass filters that are available in
4˝ x 4˝ and 4˝ x 5.65˝ sizes. The holder rotates a full 360º
enabling the use of polarizers or graduated filters. It can
accommodate up to 2 glass filters. The holder includes a
77 mm Wide Angle adapter ring which can be removed
from the holder with a simple pull of the brass tab (located
on the top) to exchange for other available sizes. The
adapter ring can also be used with conventional step rings
to quickly accommodate smaller filter diameter lenses.
Digital Starter Kit*
4 x 4 – 1084695
Includes: Circular Polarizer, Black Frost® 1/2, ND.9
Light Control*
4 x 4 – 1084965
Includes: One-Stop Pol, Lowcon 1/4, Digicon® 1/2
HD Pro Filter Kit*
5 x 5 – 1085431
5.65 x 5.65 – 1085432
Includes: Clear, ND.6 Grad Soft Edge, ND.9 Grad Soft
Edge, ND.9 Full Attenuator, True Pol Linear
Exposure Kit*
4 x 5.65 – 1084526
Includes: ND.3, ND.6 Solid, ND.6, ND.9, Soft Edge
Graduated
40
41
Essential Kit for RED*
4 x 5.65 – 1084527
5.65 x 5.65 – 1085433
6.6 x 6.6 – 1085434
Includes: True Cut IR 750, ND.9, ND 1.2, ND 1.5
True-Match 10-stop variable ND Filter Kit with Holder
Skin Tone Filter Kit*
4 x 4 – 1084966
Includes: Maui Brown 1, Gold 1, Coral 1/8
Landscape*
4 x 4 – 1084967
Includes: Storm Blue 2 SE Grad, Maui Brown 2, Classic
Sunset
Essential HD Kit*
4 x 4 – 1085435
Includes: Circular True Pol®, Platinum IRND.9®, Platinum
IRND 1.2®, Platinum IRND 1.5®, Black Frost® 1/2
Landscape Kit with Shade
4 x 5.65 – 1085436
Includes: ND.6 Soft Edge Graduated Vertical, 4˝ Filter
Holder, 77 mm Wide-Angle Adapter Ring, Round Rubber
Sunshade
True-Cut IR Tuner Kit
4 x 5.65 – 1085437
6.6 x 6.6 – 1085438
Includes: True-Cut 750 IR, True-Cut 715 IR, True-Cut 680 IR
Compact ND Kit for 114MM/CP.2
4.5˝ Round – 1084525
Includes: ND.6, ND.9, ND 1.2, 114 mm SSLR-4.5˝, Adapter
Ring
*All kits are packaged in a soft filter pouch which includes
a hook and loop strap to belt mount with padded slots to
protect your filters.
Application: The perfect choice for DSLR cameras with
high ISO settings, the True-Match Vari-ND® allows the
user to select the lens f/stop & camera speed independent
of ambient light conditions.
Works in conjunction with the 4˝ Filter Holder.
This carefully matched set of filters work in combination,
to produce a density range from 1-1/3 stop loss in full
transmission to 10 stops full attenuation. By selecting
the best quality materials, Schneider’s variable ND offers
10 stops (ND 3.3) attenuation with no blue color shift at
maximum density which is a common problem with inferior
or unmatched materials.
The kit is comprised of a screw-in 77 mm or 95 mm TrueMatch Circular Polarizer (Non-Rotating) that mounts to
the front of the camera lens, a True-Match 4˝ x 4˝ Linear
Polarizer that slides into the 4“ rotating Filter Holder with
the 77 mm or 95 mm W/A adapter ring.
These filters are available separately as an upgrade kit
(77 mm or 95 mm) for those who already own a 4“ Filter
Holder or the Landscape Control Kit.
Step Rings are available for other lens diameters.
42
43
Landscape Control Kit with Holder
True-Match Circular threads to the
front of the camera lens
True-Match Linear Polarizer slides
into the 4˝ Filter Holder
77 mm adapter ring is screwed onto
True-Match Circular
Filter Holder is positioned onto the
77 mm Adapter Ring
4 x 5.65
Includes:
· ND.6 Soft Edge Graduated
· 4˝ Filter Holder
· 77 mm Wide-Angle Adapter Ring
· Filter Pouch
Application: Landscape Control Filter Kit is designed
with the demanding needs of nature and landscape
photographers in mind. The graduated neutral density can
be moved up or down in the scene and used to balance
uneven exposure values from background to foreground
that is difficult if not near impossible to achieve with post
image processing.
Filter Holder with Linear Polarizer is
mounted onto the Circular Polarizer
44
Filter Holder with Linear Polarizer
is rotated to achieve desired ND
setting
The Landscape Control Filter Kit includes an easy-to-use
filter holder that makes it a snap to add the Kit’s 4˝ x 5.65˝
ND 0.6 (2 stop) vertical soft edge grad filter – or any
4˝ x 4˝ or 4˝ x 5.65˝ glass filter. Equipped with a handy
springloaded quick release mechanism, the holder fits
up to (2) 4 mm thick glass filters. Simply attaches to the
camera lens front via an interchangeable screw-in adapter
ring. Schneider’s ND 0.6 vertical soft edge grad filter is
made of water-white Schott glass for unsurpassed image
quality and is an excellent choice for controlling bright
skies without losing shadow detail.
45
True-Match Vari-ND® Upgrade Kit
for Landscape Control Kit (without Holder)
Clairmont In-Camera Filter
System for ARRI Alexa
Behind-the-Lens ND Filter Solution.
Working closely with Schneider, the famed Clairmont
Camera team has designed a custom assembly that holds
interchangeable filters in front of the Alexa’s CMOS sensor
assembly. This innovative kit includes a specially designed
magnetic filter holder that replaces the light baffle in the
Alexa camera. Once in place, the new assembly allows
secure mounting and precise positioning of the specially
manufactured, ultra-precision filters.
Application: The True-Match Vari-ND® Upgrade Kit for the
Landscape Control Kit allows the photographer to create
a variable ND filter.
The perfect choice for DSLR cameras with high ISO
settings. Step rings are available in common sizes to adapt
the 77 mm size to smaller lens thread diameters.
The kit is comprised of a screw-on 77 mm True-Match
Circular Polarizer (non-rotating) that threads to the front
of the camera lens and the 77 mm adapter ring from the
Landscape Control Kit that is then screwed onto it. The
4’’ x 4’’ True-Match Linear Polarizer slides into the 4˝ Filter
Holder 4mm slot in front, which is then clipped onto the
adapter ring. The filter holder can then be rotated to
produce varying levels of density, from 1-1/3 to 10 stops
of light loss.
46
Magnetic Filterholder replaces Alexa Light Baffle.
The Standard In-Camera Filter Kit consists of an in-camera
filter holder, shims (to compensate for focus change
resulting from the behind the lens filter), a filter installation
tool and seven mounted Ultra Precision Multi-Coated InCamera Filters: Clear, IRND .3, .6, .9, 1.2, 1.5 & 1.8. Net
holders and streak filters will be available. With the new
system, a Camera Assistant can change filters quickly and
easily. They are all high efficiency multi-layer coated to
minimize flare and ghosting.
47
Jos. Schneider Optische Werke GmbH
Ringstrasse 132
55543 Bad Kreuznach
Germany
The information in this document is subject to change without notice.
48
08/2015 - 1085835
Tel. +49 671 601-0
Fax +49 671 601-109
filter@schneiderkreuznach.com
www.schneiderkreuznach.com
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertising