I stopped he damn video 1 minute after reading this comment. what in the f***. Yea that's a perfect price. Two truck payments and I can have a filter for my camera Jesus. This damn photo world is overpriced and so dodgy right now
@@mediaflmcreationTony, when I first got started Betacan SP packages with a nice fujinon zoom, tripod was $80K. My Arri SR3 Highspeed Package with S16 Optex converted zooms and ZEISS primes was over a quarter mil- new. These are the days of insanely cheap gear my friend, really focus on your immediate needs and grow intelligently. Good luck Tony and take care of yourself. Cheers.
@@mediaflmcreation What's the price of your best lens? And do you use it all the time? An OLPF is doing its work with any lens and every shot you make. This Rawlite 4.6K OLPF is custom designed for the Blackmagic URSA mini Pro 4.6K sensor to prevent (color moiré) which can ruin your footage (talking about expensive). The same filter has a very effective IR coating that filters IR for all your lenses, because it sits in the camera, behind the lens. Thus no need for different diameter filters. All professional cinema camera's of brands like Canon, ARRI, Sony implement an OLPF. It's a necessity to filter out frequencies (detail) that the sensor can't handle and cause disturbing artifacts. And OLPF consists of 4 high precision made crystal layers. This is not a cheap filter, it's a high precision optical component.
Great, mention the price and your story is complete. Canon, ARRI, SONY, Netflix and many professional cinematographers see the need for an OLPF. Of course you have the right to think differently.
An OLPF softens the image captured slightly so that fine detail doesn't just hit a single sensor pixel color. This reduces sensor color moiré, but does not remove moire all together, as a lot of real life moiré is caused by two overlapping patterns, and is perceived identically by the eye and a camera. Color moiré on the other hand is caused by the sensor pixel pattern frequency matching a pattern in the object being shot with fewer than all the sensors mosaic pattern pixels needed to correctly capture an accurate color. The slight blur of OLPF, if built and installed correctly, causes incoming light to hit all the surrounding mosaic colors instead of just one. Some OLPF's are heavy handed and their blur can bleed even further out resulting in more of a diffusion filter look in addition to the moiré reduction. A good OLPF is tricky to design. As for the hot mirror, that isn't exactly the correct terminology. It's known as IR-CUT I believe Tiffen specifically calls one of their IR-CUT systems Hot Mirrors because they reflect the infrared below the cut frequency. All IR-CUT filters literally have a specific frequency where any reddish color above the cut frequency makes it to the sensor, and anything below the cut frequency is reflected, absorbed or blocked in some similar fashion. What the ideal CUT frequency is is very camera dependent. If one uses a filter with to high a cut frequency then the resulting image will shift green, where as with to low a cut frequency the image shifts red. Most of the older Blackmagic cameras have a very low cut frequency which is why the red shift occurs when certain types of ND are applied. It should be noted there is what is also known as the cut slope, which determines how quickly the filter will transition from blocking IR/RED to allowing RED to pass. Few manufacturers list their cut frequencies and slopes in their ads, but it can usually be found on a chart or detailed specifications for some brands. It should be noted that all cameras best cut off point is truly subjective, and it's almost always better to error on the side of to little than to much, as one can easily add more, but it's very difficult to remove it if it's over done.
@@Giovanni-Giorgio mist & diffusion filters can act similar to an OLPF in some situations, but there are a lot of variables in how a given type of diffusion filter works, and as they're not designed for the purpose of being an OLPF there are often situations where most will fail more often than function. To go into more detail as to why would literally be a deep dive discussion on the details and differences between how various diffusion filters function vs an OLPF. If one is trying to get rid of color moiré without an OLPF they're far better off using a post effect of some kind over trying to rely on something like a diffusion filter. With that said I'm honestly surprised no one has made an AI color moiré fix tool as it could make many slightly older cameras far more usable. I would think that might be right up Topaz alley.
Many of you have kindly pointed out that using the term "slower wavelengths" isn't correct, as it seems I'm suggesting that infrared light moves faster than visible light (it doesn't). I was trying to speak to the lower frequency of the wavelength (a "slower" looking wavelength vs the tighter/higher frequency wavelengths). Sorry for the confusion, there was probably a better way to say that 😃
00:53 - This is why I use Freewell Eiger IR Cut magnetic ND filters ND4, ND8, ND16, ND32, ND64 up to two stacked for 2 to 11 stops of reduction. No IR pollution. Even with two stacked, I get no additional vignetting with a Laowa 6mm MFT lens which is equivalent to 12mm on full frame. Better than Sony Burano's built in ND filters which do not cut out IR light. Lol. I own 4 of the systems and filters. Once they go out of production, will be in the dark ages again ... Tiffen NatNDs are nice and the square filters are IR cut but cost like 10x as much per filter ...
I want to point out most of the new Blackmagic cameras that come with an OLPF appear to preform about the same as the aftermarket RAW Light. So I would hold off one just installing a RAW Light filter into any Blackmagic camera. Make sure that your camera has real issues before swapping it. Test first, swap if the replacement is going to actually solve the problem is always the best solution. IF the two OLPF's do preform as close as people are suggesting then swapping the included one would be a tragic waist of money.
Blackmagic modelled their 12K OLPF after our Rawlite OLPF, which we'd sent them on their request. They did so because Netflix only approved shooting with the Blackmagic URSA Mini Pro 12K if a Rawlite 12K OLPF was installed. After that Blackmagic implemented an OLPF in most of their high-end models as far as we know of. We compared their 12K OLPF to ours, and it seems they add in camera sharpness to the image. Judged by sudden frequency increase in the slope of the curve. We think the added false sharpness is not desired, should be a choice in post.
@2:19 that effect is called moiré, not sure it's also called "aliasing" cause aliasing refers to another thing. Moiré happens when the patterns you shoot overlap the patterns of your sensor in a bizarre way. Anti aliasing filters lowers this effect for sure but I'm not sure moiré = aliasing technically.
Did you get the filter as a promotion? Did they send it to you free of charge? I've been contemplating this filter. But not sure if I should go for it.
I pitched the idea for this video to Rawlite and asked if they wanted to send the filter out, and they kindly agreed to. What Blackmagic camera are you using right now?
@jakehayden998 I've got the Ursa 4.6K G2 + pocket 4K + Canon R5. The Ursa has given me some moire problems in a few situations. It's a shitty thing to see once you get the footage on your computer 🙄
@@KaarloMedia You'll never regret installing the Rawlite OLPF. They are specifically designed for each sensor to prevent moiré and aliasing. We measured the spectral transmittance of the existing filter to maintain the same tint. We added a IR cut coating, designed to only cut IR where it is expected to be zero. There's more 'magic', but we can't reveal it all. Just look at the decrease in chromatic aberration in the enlarged shot of Sachtler logo on the bag.
Assuming you are getting footage in bright daylight for relatively high end productions where color accuracy is paramount, you can get IRND filters (circular or rectangular) or a separate IR filter and a multi-step matte box to combine with regular NDs. Whatever you choose, it will set you back a good chunk of money. And you will still need to be careful in the coloring steps of your post-processing, especially if the NDs you choose are cheap, because those will likely introduce color casts similar to the one demonstrated in the video. If you're OK with some very minor color cast but still need NDs, I would recommend getting a single circular variable ND for the diameter of your larger lens, and get step-up rings for the other lenses.
@@documentaryinprogress Thank you so much for the amazing insight. I'm using the freewell VND magnetic system. bought it right when it came out, pretty hard use on it already, have it for 82mm obviously. But I don't have such a big need to colour accuracy, though it's always helpful to have less headaches, but I'd only invest in a one time effort. And don't see that right now
@@foxyvisionsvideographer Cheers! I also went for an 82mm circular, and I just have to be careful not to get to the "X" pattern at the end. Other than that, I just make videos for myself so it's not justified for me to have fancy accessories for extreme color accuracy.
sombody needs to do this to gopros they see a tone of IR but im to lazy to pursue manufacturers to build a gopro lens with extra IR blocking so im commenting here and hope someone will see it
you can't change the IR cut filter of your camera without influencing the color science. The images you get from your camera will need more work in post with a non native IR cut filter. This is bad advice. the problem here seems to be the NDs. Just find NDs that cut IR as well. Plus you didn't mention if this video is sponsored or not. It looks like it is.
If it matters at all, I have noticed no color shifting at all before and after I installed the OLPF (athough I haven't used a color chart to definitively say if theres any difference at all). The ir pollution does indeed get worse and worse with the NDs, which means you're right, you could instead use an external ND with IR filtration . But the whole point of the Rawlite OLPF is to remove all of those variables and to fix the problem with a single step. I would much rather "fix" the internal NDs than ignore them all together and have to worry about using IR filtration on all of my lenses/ matte box. Since you're interested, no, this video isn't sponsored. I approached Rawlite with the idea for this video and asked if they were interested in sending the OLPF out, and they ended up kindly agreeing , but no money changed hands at any point.
Yes you can. We've measured the transmittance curve of the existing IR absorption filter with a spectrophotometer and made the IR absorption layer of our Rawlite OLPF accordingly. The IR cut is only effective in the part of the spectrum where IR should be zero.
Ah yes finally, a way to save money, the cure to my gear acquisition syndrome, a $450 filter.
Haha nice, you got me
I stopped he damn video 1 minute after reading this comment. what in the f***. Yea that's a perfect price. Two truck payments and I can have a filter for my camera Jesus. This damn photo world is overpriced and so dodgy right now
@@mediaflmcreationTony, when I first got started Betacan SP packages with a nice fujinon zoom, tripod was $80K. My Arri SR3 Highspeed Package with S16 Optex converted zooms and ZEISS primes was over a quarter mil- new. These are the days of insanely cheap gear my friend, really focus on your immediate needs and grow intelligently. Good luck Tony and take care of yourself. Cheers.
@@mediaflmcreation What's the price of your best lens? And do you use it all the time? An OLPF is doing its work with any lens and every shot you make. This Rawlite 4.6K OLPF is custom designed for the Blackmagic URSA mini Pro 4.6K sensor to prevent (color moiré) which can ruin your footage (talking about expensive). The same filter has a very effective IR coating that filters IR for all your lenses, because it sits in the camera, behind the lens. Thus no need for different diameter filters.
All professional cinema camera's of brands like Canon, ARRI, Sony implement an OLPF. It's a necessity to filter out frequencies (detail) that the sensor can't handle and cause disturbing artifacts. And OLPF consists of 4 high precision made crystal layers. This is not a cheap filter, it's a high precision optical component.
Great, mention the price and your story is complete. Canon, ARRI, SONY, Netflix and many professional cinematographers see the need for an OLPF. Of course you have the right to think differently.
An OLPF softens the image captured slightly so that fine detail doesn't just hit a single sensor pixel color. This reduces sensor color moiré, but does not remove moire all together, as a lot of real life moiré is caused by two overlapping patterns, and is perceived identically by the eye and a camera. Color moiré on the other hand is caused by the sensor pixel pattern frequency matching a pattern in the object being shot with fewer than all the sensors mosaic pattern pixels needed to correctly capture an accurate color. The slight blur of OLPF, if built and installed correctly, causes incoming light to hit all the surrounding mosaic colors instead of just one. Some OLPF's are heavy handed and their blur can bleed even further out resulting in more of a diffusion filter look in addition to the moiré reduction. A good OLPF is tricky to design.
As for the hot mirror, that isn't exactly the correct terminology. It's known as IR-CUT I believe Tiffen specifically calls one of their IR-CUT systems Hot Mirrors because they reflect the infrared below the cut frequency. All IR-CUT filters literally have a specific frequency where any reddish color above the cut frequency makes it to the sensor, and anything below the cut frequency is reflected, absorbed or blocked in some similar fashion. What the ideal CUT frequency is is very camera dependent. If one uses a filter with to high a cut frequency then the resulting image will shift green, where as with to low a cut frequency the image shifts red. Most of the older Blackmagic cameras have a very low cut frequency which is why the red shift occurs when certain types of ND are applied. It should be noted there is what is also known as the cut slope, which determines how quickly the filter will transition from blocking IR/RED to allowing RED to pass. Few manufacturers list their cut frequencies and slopes in their ads, but it can usually be found on a chart or detailed specifications for some brands. It should be noted that all cameras best cut off point is truly subjective, and it's almost always better to error on the side of to little than to much, as one can easily add more, but it's very difficult to remove it if it's over done.
these precisions are very much needed.
Does a Mist diffusion screw on filter (1/8 or 1/4 for example) help to reduce moire?
Really great info, thanks for this
@@Giovanni-Giorgio mist & diffusion filters can act similar to an OLPF in some situations, but there are a lot of variables in how a given type of diffusion filter works, and as they're not designed for the purpose of being an OLPF there are often situations where most will fail more often than function. To go into more detail as to why would literally be a deep dive discussion on the details and differences between how various diffusion filters function vs an OLPF. If one is trying to get rid of color moiré without an OLPF they're far better off using a post effect of some kind over trying to rely on something like a diffusion filter. With that said I'm honestly surprised no one has made an AI color moiré fix tool as it could make many slightly older cameras far more usable. I would think that might be right up Topaz alley.
@@jakehayden998 sure thing, happy to try and help. 🙂
Many of you have kindly pointed out that using the term "slower wavelengths" isn't correct, as it seems I'm suggesting that infrared light moves faster than visible light (it doesn't). I was trying to speak to the lower frequency of the wavelength (a "slower" looking wavelength vs the tighter/higher frequency wavelengths). Sorry for the confusion, there was probably a better way to say that 😃
Thanks for the acknowledgement and explanation!
00:53 - This is why I use Freewell Eiger IR Cut magnetic ND filters ND4, ND8, ND16, ND32, ND64 up to two stacked for 2 to 11 stops of reduction. No IR pollution. Even with two stacked, I get no additional vignetting with a Laowa 6mm MFT lens which is equivalent to 12mm on full frame. Better than Sony Burano's built in ND filters which do not cut out IR light. Lol. I own 4 of the systems and filters. Once they go out of production, will be in the dark ages again ... Tiffen NatNDs are nice and the square filters are IR cut but cost like 10x as much per filter ...
Excellent point about upgrade slippery slope
I want to point out most of the new Blackmagic cameras that come with an OLPF appear to preform about the same as the aftermarket RAW Light. So I would hold off one just installing a RAW Light filter into any Blackmagic camera. Make sure that your camera has real issues before swapping it. Test first, swap if the replacement is going to actually solve the problem is always the best solution. IF the two OLPF's do preform as close as people are suggesting then swapping the included one would be a tragic waist of money.
Blackmagic modelled their 12K OLPF after our Rawlite OLPF, which we'd sent them on their request. They did so because Netflix only approved shooting with the Blackmagic URSA Mini Pro 12K if a Rawlite 12K OLPF was installed. After that Blackmagic implemented an OLPF in most of their high-end models as far as we know of. We compared their 12K OLPF to ours, and it seems they add in camera sharpness to the image. Judged by sudden frequency increase in the slope of the curve. We think the added false sharpness is not desired, should be a choice in post.
@2:19 that effect is called moiré, not sure it's also called "aliasing" cause aliasing refers to another thing. Moiré happens when the patterns you shoot overlap the patterns of your sensor in a bizarre way.
Anti aliasing filters lowers this effect for sure but I'm not sure moiré = aliasing technically.
I plan on entering the Blackmagic ecosystem this year, and this is definitely a priority buy for me.
What Blackmagic camera are you looking at picking up?
putting a Rawlite in my P6kPro changed how the camera looked in the best way. The images just look much better.
How hard was the install on the 6k Pro?
Softer and more blurry?
@ not very hard at all!
Does the 6kff come with a built in olpf? I feel like I remember that mentioned in the marketing but I wasn't sure
It does feature one. and it's wonderful. I use it with my Lumix S5iix and the 2 cameras work really well with one another
Did you get the filter as a promotion? Did they send it to you free of charge?
I've been contemplating this filter. But not sure if I should go for it.
I pitched the idea for this video to Rawlite and asked if they wanted to send the filter out, and they kindly agreed to.
What Blackmagic camera are you using right now?
@jakehayden998 I've got the Ursa 4.6K G2 + pocket 4K + Canon R5.
The Ursa has given me some moire problems in a few situations. It's a shitty thing to see once you get the footage on your computer 🙄
@@KaarloMedia You'll never regret installing the Rawlite OLPF. They are specifically designed for each sensor to prevent moiré and aliasing. We measured the spectral transmittance of the existing filter to maintain the same tint. We added a IR cut coating, designed to only cut IR where it is expected to be zero. There's more 'magic', but we can't reveal it all. Just look at the decrease in chromatic aberration in the enlarged shot of Sachtler logo on the bag.
0:52 all cameras save for security cameras, and others have an IR cut filter. Not just “high end” cinema cameras.
installed on all my BMD cameras
"Not record the physical light... slower wavelengths"
The mind boggles
what about my A7S3 cam?
Assuming you are getting footage in bright daylight for relatively high end productions where color accuracy is paramount, you can get IRND filters (circular or rectangular) or a separate IR filter and a multi-step matte box to combine with regular NDs. Whatever you choose, it will set you back a good chunk of money. And you will still need to be careful in the coloring steps of your post-processing, especially if the NDs you choose are cheap, because those will likely introduce color casts similar to the one demonstrated in the video. If you're OK with some very minor color cast but still need NDs, I would recommend getting a single circular variable ND for the diameter of your larger lens, and get step-up rings for the other lenses.
@@documentaryinprogress Thank you so much for the amazing insight. I'm using the freewell VND magnetic system. bought it right when it came out, pretty hard use on it already, have it for 82mm obviously.
But I don't have such a big need to colour accuracy, though it's always helpful to have less headaches, but I'd only invest in a one time effort. And don't see that right now
@@foxyvisionsvideographer Cheers! I also went for an 82mm circular, and I just have to be careful not to get to the "X" pattern at the end. Other than that, I just make videos for myself so it's not justified for me to have fancy accessories for extreme color accuracy.
Today I learned
"slower wavelengths"??? lol
Slower wavelengths? Now things get really mixed up ;-)
Nice catch
sombody needs to do this to gopros they see a tone of IR but im to lazy to pursue manufacturers to build a gopro lens with extra IR blocking so im commenting here and hope someone will see it
You can just buy a used EVA1 for like 2k that natively shoots IR
you can't change the IR cut filter of your camera without influencing the color science. The images you get from your camera will need more work in post with a non native IR cut filter. This is bad advice. the problem here seems to be the NDs. Just find NDs that cut IR as well. Plus you didn't mention if this video is sponsored or not. It looks like it is.
If it matters at all, I have noticed no color shifting at all before and after I installed the OLPF (athough I haven't used a color chart to definitively say if theres any difference at all).
The ir pollution does indeed get worse and worse with the NDs, which means you're right, you could instead use an external ND with IR filtration . But the whole point of the Rawlite OLPF is to remove all of those variables and to fix the problem with a single step. I would much rather "fix" the internal NDs than ignore them all together and have to worry about using IR filtration on all of my lenses/ matte box.
Since you're interested, no, this video isn't sponsored. I approached Rawlite with the idea for this video and asked if they were interested in sending the OLPF out, and they ended up kindly agreeing , but no money changed hands at any point.
Yes you can. We've measured the transmittance curve of the existing IR absorption filter with a spectrophotometer and made the IR absorption layer of our Rawlite OLPF accordingly. The IR cut is only effective in the part of the spectrum where IR should be zero.
Yeah I am not into modern Hollywood cinematography. It is garbage. :-P