All language subtitles for 15-GripToolsFilters.mp4

Now we're going to talk a little bit
about

filters.

And I know that in today's modern age
of digital post production, sometimes

people forget about how wonderful
filters are, and how useful they are

for certain things.

And so I'm going to talk about

the step up ring.

I'm going to talk about the uv filter,

the polarizer, or the circular
polarizer, the neutral density filter.

And

one of my favorites, something called
the black promised.

And so these are kind of the filters
that I pull from on a relatively

regular basis.

And so I want to make you guys aware of
those.

And you're going to see these in
practice later on.

So the first one is the step upring.

You also have there's something called
a step down ring.

I don't actually use these because the
lenses that I use these on are the

same, the same filter, same same size.

But if you have a

filter that's really big

and you want to make it fit multiple
lenses, you can use something called a

step up or a step down ring, so that
different mounts can fit on something

larger.

So you buy one, and then you buy step,
upper, step down rings.

And it

solves you from having to

buy

more filters.

So you buy one filter that fits

multiple rings.

So it just gives you flexibility

for that.

The uv filter, or the ultraviolet
filter,

is something that I think a lot of
people

tell you right off the bat.

When you're buying a new lens, you put
this on to protect it.

I mean, it does make a

small, tiny difference visually in the
image, but it's more about just

protecting the lens than anything else.

It's just a clear filter.

I don't have that to show you.

It, just

a protection filter.

Actually, something that people are

talk about quite a bit, changes the way
uv light looks a little bit, makes it a

little bit more,

a little bit nicer to see.

But

that's not really

what I want to focus on.

When I talk about filters.

I want to talk about stuff like this.

This is the polarizer

and the system that I use.

You can obviously buy a zillion
different

filters and stack them all on, but I
use a filter system because I think

it's a little bit less cumbersome.

The one that I use.

This is by

a wine country camera.

It's this really nice filter.

And it uses slide filters.

So you can put multiple slides in it.

And on the back is where it mounts to
the lens.

And this is where my step up ring would
mount.

But it's got a built in polarizer.

And so what the polarizer does

is it allows you to change.

So I rotate it here, and it changes how
effective it is.

But what it does

is it removes reflections in glass, or
minimizes

reflections in glass.

And so you can kind of see, in the left
image versus the right, how it makes

the glass look.

Now I will say this.

I actually prefer the left image

because I think it adds more depth.

I think the right looks like a painted
window, and I don't think it gives you

a lot to look at.

But a really good way to use a
polarizer filter

is when you have, you're doing the
driving scene, and remember, they

haven't the conversation through the
windshield of the car, but use a

polarizer filter to cut down on those
reflections so you can see the people

on the inside.

So when you're shooting through glass,

it gives you the ability to control
what the glass looks like.

And so I use this on the second shoot
that you're going to see.

I had

glass on the tops of these planes, and
I'm able to control what the

reflections look like coming through
that glass.

In addition to that a polarizer filter
will also make skies appear more blue

and give you a lot more density out of
the sky.

So that's a really helpful way to use a
polarizer filter when you want to make

the sky look a little bit nicer, and
maybe it's blown out a little bit, so

it brings it back.

So two different uses for the
polarizer.

I'm either shooting through glass or

making the skies a little bit darker.

And what you want to do is variant
until you get the effect that you want.

You can see it right as you look
through the frame.

That's the beauty of this.

Ok?

Now we move to the neutral density
filter.

And I love, I love, love, love, love,
love, love, love, love, love, love,

love, love.

The end filter,

the Andy filter.

I know that in the time of high speed
sync,

that we're not need necessarily as
likely to remember that this is

probably another way to do it.

But

with film, they're usually shooting at
a relatively slow shutterspeed 160th

of a second, probably pretty commonly.

And when you're shooting outside makes
everything really bright, especially if

you want to shoot at a really low
aperture to give you that shallow depth

of field.

And so what an Nd filter allows you to
do is it put sunglasses on the lens,

and it allows you to darken the image
down to give you a much shallower depth

of field, if you choose to use it.

Also, I don't have high speed sync on
the camera, and the system that I use,

I max out at 1125th

of a second.

So this allows me to get that shallow
depth of field, but still overpower

daylight, and give me what would look
like high speed sync, or really fast,

like a leaf shutter.

So it gives me that effect

without actually,

you know, having it.

And so with this system in particular,
for example,

like I basically take,

I take the filter.

This is a 1.5,

so it looks like this

slides in,

and it's sunglasses over the lens.

This is 1515,

is going to be about three stops.

You can also get ones that are variable.

You can also get ones

This is a six stop,

and it's real dark.

That's a six top.

But I like this

because

it's just about what I want the

outside to look like.

I'm usually more likely to use a three
stop versus a versus a six, because the

outside that's going to be really dark
at six.

The other thing is, when you're using a
polarizer in conjunction with an end.

It can add

half to almost a full stop, extra
darkness on top of that.

So know that that also gives you some
leniency.

And then what I would do is, if I
wanted to make that background a little

bit brighter, all I do is lower the
shutter speed.

I'm not telling you do that.

You control ambient when you're using
strobes with shutter speed, right?

So that becomes a way that I can do
that.

And that's me shooting at f.

Eleven versus 28.

And the shutter speed is the same.

Obviously, I tweak

the iso a little bit, but it gives you
that really beautiful cinematic look,

some nice separation

with the depth of field.

And so that's just by adding in the
neutral density filter and changing exposure.

This is the other example of that.

This is the same thing.

I went out in the other direction,

and, you know, this is 28 versus 13.

And then what I did was I varied the
shutterspeed a little bit to add it a

little bit more light in the
background.

Obviously doesn't have to be a true one
to one translation of, just let me turn

the aperature down.

You still have the ability to control
shutterspeed in iso, but it is giving

me about a three stop difference.

By the time all those calculations are
put into place,

and the light on the face

looks pretty much the same.

And the background gives you that
really nice separation.

I'm not seeing as much of the ugly
things in the back, as much the

distractions.

And it gives me a little bit more of
that cinematic look,

endy filter.

Great solution when working with
strobes outside.

Now we get to one of my favorite things
that most photographers don't know

about, and that's the black promis

and the black promist.

This is made by tiffin.

They're relatively inexpensive.

I mean, this is about seventy Bucks

looks like this, just normal, right?

But what the black promiss does

is it's

sort of kind of

like a haze machine in a filter.

And it's not really like that glamorous

hazy filter.

What it does tends to make highlights
bloom.

But it does a better job

at not making the rest of the image
have that effect.

So you can kind of see, like his face
doesn't look soft, the rest of the

image doesn't look soft,

but the whole thing kind of has a
little bit of a hazy look to it.

And so the light on the flashlight
glows a little bit, the lights on the

ceiling glow a little bit, and it just
adds a whole lot more atmosphere instantly.

And this is especially helpful when you
are dealing with locations that don't

let you run a haze machine.

But you want that effect,

right?

So this becomes a way that you can get
some of those bloomy highlights, and it

gives you a really, kind of cool,
cinematic look to the lights.

And it glows without looking cheesy.

It's really, really cool.

Now, just to show you what this looks
like compared to the haze machine

on the left hand side,

this is the haze machine by itself.

No black promised,

and you can see the beam.

That's what the haze machine machine
does is it gives you the beam,

as opposed to just being aglow.

The lights bloom a little bit.

The beam looks,

it looks good.

But when you add the black promist

to the haze,

it makes it look even better.

And so I like the combination of the
two.

During the theater shoot, I was using
the black promise in conjunction with

the haze.

And also the black promis, just so, you
know, comes in a variety of different strengths.

This

shot here

is the quarter it's a

quarter.

Black promes it's quarter half

and full.

It gets real heavy, real quick,
especially if you're combining it with

an actual haze machine,

as opposed to just doing it

by itself.

So there's obviously a time and a place
to use something like this, or a

heavier version of this.

You're in a smoky nightclub, you're in
an environment that's meant to feel, if

you're in the fog, like that, helps,
helps do it.

But if you're just in a room that just
needs to appear a little bit

atmospheric and a little bit moody, it
works as an option, either by itself or

in conjunction with

the haze in place.

And so I really like, this is kind of
where the shot ended, like, this is the

culmination of all the stuff that we
built prior, and then adding in these

few other small effects,

like adding in the haze,

adding in the black promise.

And it really just takes what was
already a pretty successful image and

just really bumps it up to that extra
cinematic

kind of degree.