Softening the Digital Edge: How Filters Elevate Cinematic Vision
My Journey as a Cinematic Brand Ambassador for Formatt Hitech
Cinematography is constantly evolving, and as a Director of Photography, I’m always on the lookout for ways to fine-tune the images I capture in-camera. One of the most important aspects of that is filtration—shaping the light and texture of an image before it even hits the sensor. This is what led me to Formatt Hitech, and eventually, to becoming a brand ambassador for their Firecrest Cinema filters.
The Meeting That Started It All
It all kicked off when David Lutwyche from Formatt Hitech reached out to me to discuss how we could get their cinema filters in front of more Directors of Photography (DOPs). The aim was simple: get the filters used more often in productions and improve their range based on what filmmakers needed. We spent a lot of time talking about what people were after in diffusion filters—what was missing, what could be better, and what trends were emerging in the world of cinematography.
That’s when I discovered Formatt Hitech is owned by Tokina Lenses, which piqued my interest even more. This connection led me to meet Fuminari Izawa, the CEO of Kenko Tokina, here in Wales. It was a real eye-opener, seeing how global innovation and craftsmanship were influencing the future of cinematography.
The Changing Role of Filters in Modern Cinematography
The technology in modern cameras has changed the way we use filters. High-end digital cinema cameras are now increasingly coming with internal Neutral Density (ND) filters, which reduces the need for external ND filtration. But at the same time, the sharpness of digital sensors has gone through the roof. While that’s great for detail, it can also make an image feel a bit too clinical or sterile. That’s where diffusion filters come in—they’ve become more important than ever.
Camera Assistant Sarah MacLeod who kindly helped me test the Formatt HiTech Filters at Video Europe in Bristol with Elliot Gilfoyle.
Filmmakers use diffusion to bring back the softness, texture, and organic imperfections that make an image feel more cinematic. It’s not about degrading the image, but about shaping it—controlling highlights, softening skin tones, and easing off that harsh digital sharpness to create something more pleasing to the eye. In the past, cinematographers would use stockings behind the lens to achieve this softening effect—something still done today. Modern diffusion filters have built on that idea, offering greater control and consistency.
Filmmakers and the Art of Diffusion
The role of diffusion filters in filmmaking is more prominent than ever. Cinematographers like Roger Deakins, for example, have spoken about their preference for subtle diffusion to create softer, more natural-looking images. Greig Fraser also used diffusion on Dune to balance the sharpness of digital footage with a more tactile, film-like feel.
Test footage of Formatt HiTech Soft Gold 1 filter.
From classic Hollywood to today’s streaming productions, diffusion has remained a key tool. Filters like Black Pro-Mist, Glimmerglass, and Soft FX have been around for years, but there was still room for new ideas—something I was keen to dive into with Formatt Hitech.
Test Footage of Camera Assistant Sarah MacLeod sitting in while testing the Formatt HiTech Black Supermist 1
Revitalising and Redeveloping the Diffusion Range
Through my work with Formatt Hitech, I helped breathe new life into their archived diffusion filters, updating them for today’s cinematography. This led to the launch of Soft White, Soft Silver, and Soft Gold filters, which are now key players in their diffusion range. Each filter brings something unique to the table:
Soft White: Gently diffuses the image while still maintaining sharpness and contrast where it matters.
Soft Silver: Adds a subtle glow to highlights without losing detail.
Soft Gold: Gives a warm, glowing softness, perfect for enhancing skin tones or achieving a period look.
We also worked on creating framed filters to stop the common issue of chipping that happens on set. Plus, we developed ultraslim filters to fit into matte boxes, gimbals, and Steadicams, where keeping the weight down is crucial. These filters have been used on big productions, proving their worth in the industry as essential tools for DOPs who want to perfect their images in-camera.
Soft White Filter
Soft Silver Filter
Soft Gold Filter
The Cine K35 Filter and My Recent Work
Since I got involved with Formatt Hitech, they've also released the Cine K35 filter, which I’ve been using a lot in recent work. This filter, inspired by the look of vintage K35 lenses, gives a soft, blooming effect to highlights and a gentle halation, which adds a lovely cinematic quality to the image. I wasn’t directly involved in bringing this filter to market, but it’s become a go-to in my kit for achieving that organic, nostalgic feel.
Looking Ahead
As filmmaking evolves, so too will the tools we use. My collaboration with Formatt Hitech has allowed me to play a part in creating products that help cinematographers push their creative boundaries. It’s also inspired me to explore new collaborations beyond filters—looking into lighting, camera gear, and lenses. While the principles of shaping an image in-camera haven’t changed, I’m excited to see how I can apply this knowledge to other areas of cinematography.
For any cinematographer looking to take their images to the next level, it’s all about knowing how to use the right tools. Diffusion filters, in particular, are one of the most powerful ways to craft that cinematic look, bridging the gap between technology and artistry.
