Designed by Clairmont’s very own Andree Martin, these new tools give the cinematographer access to an In-Camera Net Holder and an In-Camera Blue Streak Effect “Filter.” The In-Camera Filter Systems can be used with both spherical and anamorphic lenses and are an available option to rent with Clairmont Camera’s ARRI Alexas. The In-Camera Filter System will be available for purchase from Schneider in the near future.
ALEXA IN-CAMERA NET HOLDER
The In-Camera Net Holder is magnetically held in place in front of the Alexa sensor in the same way as the other Clairmont In-Camera filters. The Net Holder can be used as a stand-alone effect or piggybacked on any filter placed in the filter carrier. Since no glass is used in the net holder, there’s no need to adjust camera flange depth.
Each net kit includes a fixture to hold the net rings in place while mounting the net material to the ring, leaving both hands free to quickly mount, clamp and trim nets with ease. Camera crews can mount their own netting material of choice to the empty rings provided as part of the kit.
ALEXA IN-CAMERA BLUE STREAK EFFECT
Just like the net holders, the Blue Streak Effect Filter is also magnetically held in place, can be used as a stand-alone effect or piggybacked on any filter placed in the filter carrier.
Unlike streak filters used in a matte box, no glass is used in the filter ring. Therefore, there is no focus shift or possibility of unwanted reflections caused by the filter being placed in the optical path. The filter ring can be rotated to any position desired during installation. This creative option allows the resulting streaks to be vertical, horizontal or anywhere in between on the photographed image.
The light reflects off the filament rather than illuminating the length of it–so if you want horizontal streaks, insert the blue streak effect filter with the filaments aligned vertically into your Alexa.
If you want vertical streaks, align the filaments horizontally in the Clairmont filter effect carrier:
Thanks to Clairmont Camera, here are some new creative tools for cinematographers.
This article was written by Alan Albert and Mardrie Mullen. Photos by Arturo Jacoby. Framegrabs and camera tests by Andree Martin, Aaron Wise and Scott Eisner. Editing by John Carlson.